{"id":2063,"date":"2026-06-13T15:36:03","date_gmt":"2026-06-13T15:36:03","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=2063"},"modified":"2026-06-13T15:36:03","modified_gmt":"2026-06-13T15:36:03","slug":"you-mastered-the-guttural-sob-claire-danes-and-richard-gadd-on-body-transformations-acting-nerves-and-moving-past-baby-reindeer","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=2063","title":{"rendered":"\u2018You Mastered the Guttural Sob\u2019: Claire Danes and Richard Gadd on Body Transformations, Acting Nerves and Moving Past \u2018Baby Reindeer\u2019"},"content":{"rendered":"
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\nThis interview is part of Variety and CNN\u2019s Actors on Actors series. Watch the full video interview\u00a0now\u00a0at CNN.com\/Watch (or on the CNN app)\u00a0and\u00a0on Variety\u2019s YouTube channel starting at 11:59 pm ET.<\/em><\/p>\n

Read more Claire Danes Says Leonardo DiCaprio Told Her Not to Play With Prop Guns on \u2018Romeo + Juliet\u2019 Set: \u2018Claire, We Don\u2019t Do That\u2019<\/a><\/p>\n

\nClaire Danes and Richard Gadd both flirted with madness in high-profile acting duets this season. On \u201cThe Beast in Me,\u201d veteran actress Danes played writer and grieving mother Agatha Wiggs, whose journalistic instincts get tripped by her new, threatening neighbor (Matthew Rhys). And on \u201cHalf Man,\u201d writer-director-star Gadd\u2019s followup to the sensation \u201cBaby Reindeer,\u201d it\u2019s Gadd who plays the threat as Ruben, a musclebound tough guy who haunts the life of his childhood acquaintance Niall (Jamie Bell) into adulthood. <\/p>\n

\nClaire Danes:<\/strong> I\u2019m very happy to be here with you, truly. <\/p>\n

\nRichard Gadd:<\/strong> Yes, likewise. It\u2019s surreal for me. I\u2019ll tell you a little fact. Back at school, to get us to learn Shakespeare, we watched \u201cRomeo + Juliet.\u201d I remember writing an essay on \u201cRomeo + Juliet.\u201d I remember so clearly an amazing bit you do in that where you wake up and Romeo\u2019s dead, and you do this amazing guttural sob. I remember writing paragraphs about that sob and how impactful it was. <\/p>\n

\nDanes: <\/strong>And then you mastered the guttural sob. <\/p>\n

\nGadd: <\/strong>I learned from the best. <\/p>\n

\nDanes:<\/strong> You saw my guttural sob, and you raised it. I remember that moment very distinctly. I was surprised by it. I remember the shock of the discovery and being startled by my response, which is what we hope for. It doesn\u2019t always happen. <\/p>\n<\/div>\n<\/div>\n

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\nGadd:<\/strong> Did you have to prepare for that? <\/p>\n

\nDanes:<\/strong> We were pretty deep into filming at that point \u2013 but that\u2019s why Baz [Luhrmann] is such an extraordinary director because he served it to me. But this isn\u2019t really fair, because it\u2019s called \u201cActors on Actors,\u201d and you\u2019re many other things. I am merely an actor, and you\u2019re the guy providing the context and eliciting the performance. I so wish I could do that myself, but I am limited. <\/p>\n

\nGadd: <\/strong>You\u2019ve never thought of giving [writing] a shot? <\/p>\n

\nDanes: <\/strong>Well, I\u2019m now producing more. It feels like throwing a dinner party. But I\u2019m not writing it. I guess you\u2019ve always written? <\/p>\n<\/div>\n<\/div>\n

\nGadd:<\/strong> Even from an early age. One of the earliest memories I have is sitting and writing \u2014 it was called \u201cFelix the Furball,\u201d and it was about this little bit of fluff that kept getting blown out of the house, and it had to find its way back into the house. I remember vividly being at the keyboard, typing frantically, being obsessed with it. <\/p>\n

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\nDanes:<\/strong> I remember being really, really little and knowing that I needed to do this acting thing. I always knew I wanted to act and couldn\u2019t really explain it. Did this writer self emerge before the actor self, or were they kind of twinned? <\/p>\n

\nGadd: <\/strong>I played Macbeth in my school play. And I know it seems daft now to reference it, but it was a watershed moment for me. Have you ever done it onstage, Shakespeare? <\/p>\n

\nDanes: <\/strong>No. <\/p>\n

\nGadd: <\/strong>What was it like doing it on film? <\/p>\n

\nDanes: <\/strong>Well, Baz was very clear that he wanted to make this as accessible as possible, and there were no pretensions at all. It was about clarity of intention and language. I haven\u2019t done anything like that since then. It was totally thrilling \u2014 but I\u2019ve done enough work to know that a well-written scene is just a ride that you are on. And you\u2019ve written a lot of very well-written scenes. What is it like to be on the ride that you have architected yourself? <\/p>\n<\/div>\n<\/div>\n

\nGadd:<\/strong> It\u2019s interesting because when I write scenes, I can see them so clearly in my head, and even the rhythm of the speech, I sort of know how it should be said. I spend so long writing the scripts and work so constantly that when you get to set, you know the lines almost too well. You have to find new things within them. It\u2019s a blessing and a curse, in a way \u2014 I don\u2019t need to learn lines. You need to unlearn them to be in the moment. <\/p>\n

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\nDanes:<\/strong> \u201cBaby Reindeer\u201d and \u201cHalf Man\u201d \u2014 I don\u2019t know if this was intentional or if this is an annoying thing for me to say, but I feel like they\u2019re in conversation with each other, and you\u2019re playing flip sides of the same character. This is way too reductive, but you were the victim and then you were the abuser. <\/p>\n

\nGadd: <\/strong>Aggressor. <\/p>\n

\nDanes: <\/strong>Aggressor. Is this something that you were conscious of as you were writing? <\/p>\n<\/div>\n<\/div>\n

\nGadd:<\/strong> It\u2019s an interesting question. I never planned on being in \u201cHalf Man.\u201d Because after I did \u201cBaby Reindeer\u201d \u2014 showrunning and also being in front of the camera, it almost drives you nuts. <\/p>\n

\nDanes: <\/strong>I can\u2019t even imagine. <\/p>\n

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\nGadd: <\/strong>You have to have a split focus. There\u2019s times when I\u2019m acting and I\u2019m also seeing it from a bird\u2019s-eye view, trying to be like \u201cIs this working from the outside?\u201d It can drive you slightly insane. So when I came to \u201cHalf Man,\u201d I thought, \u201cI\u2019m going to take one of the jobs off my plate.\u201d But Jamie wanted me to do it and HBO and BBC really wanted me to be in it from a marketing perspective.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

\nDanes:<\/strong> Also, you\u2019re a really good actor. <\/p>\n

\nGadd: <\/strong>Thank you. But it was so far from anything I\u2019d ever done before. If you see what I was used to playing after \u201cBaby Reindeer\u201d \u2014 neurotic, awkward \u2014 then you go all the way to strutting psychopath\u2026 It sort of terrified me. And I almost turned it down because it terrified me so much. I\u2019ve got this thing in me where I come from a comedy background, so I still feel like a student of the game. And with Donny [in \u201cBaby Reindeer\u201d], I had to go back to a version of myself that was based on myself, but Ruben was like, \u201cHow do you get to someone who\u2019s so far away from me?\u201d And it was a real challenge. I had to change everything about myself.<\/p>\n

\nDanes:<\/strong> I\u2019ve never had to ask that much of my body in order to prepare for the role. <\/p>\n

\nGadd: <\/strong>Donny Dunn was like 68.8 kilograms [151 pounds]. Ruben at my heaviest was 110 [242 pounds]. I wanted it to be real, so a lot of it was putting a lot of fat on top of the muscles. It\u2019s quite helpful, because as the character, you feel physically imposing, and Jamie Bell\u2019s very petite. When I was acting with him, I could almost ingest him, I was so much bigger than him. It helped in that respect. I like that because \u2014 I don\u2019t know about you. I hate feeling like myself on set.<\/p>\n

Read more Anna Faris Opens Up About \u2018Scary Movie\u2019 and Overcoming Anxiety: \u2018I Was Convinced That I Was Going to Be Framed for Murder\u2019<\/a><\/p>\n

\nDanes: <\/strong>Uh-huh.<\/p>\n

\nGadd: <\/strong>They\u2019ll put you in a shirt and you go to set and I\u2019m like, \u201cI still feel like myself.\u201d So how do I feel like a character in my body? I like to feel different. I wouldn\u2019t say it\u2019s Method or anything. I just like to feel the physicality, whether it\u2019s frail or big. Do you do stuff like that?<\/p>\n

\nDanes: <\/strong>I don\u2019t know if it\u2019s ever been necessary for me to transform in such an extreme way. Some roles are more remote than others, and I do have to apply myself with a bit more rigor in putting them together. Those are the most rewarding, really \u2014 high-risk, high-reward. I resent them initially and then I\u2019m so grateful and I find the most freedom within them. Sometimes it\u2019s quite stressful to play somebody who is super familiar, who you overlap with. <\/p>\n

\nGadd: <\/strong>Yeah. <\/p>\n

\nDanes:<\/strong> But I\u2019m curious to talk to you about that, too, because \u201cBaby Reindeer\u201d obviously is a fictionalized version of a story that you partially lived. What is that exercise? What is it to play an imagined version of something that you know so deeply?<\/p>\n

\nGadd:<\/strong> It could feel totally surreal. There were times where we\u2019d be doing scenes and I\u2019d almost dissociate and get confused.<\/p>\n

\nDanes:<\/strong> I bet.<\/p>\n

\nGadd: <\/strong>It felt surreal \u2014 the set kind of disappears, not to sound too pretentious. You\u2019re taking your life and doing a story based on it and then putting it into the machine of the television process. It\u2019s just so odd to go behind a bar \u2014 having worked in a bar for four years \u2014 and go into comedy stages and reenact jokes that I did years before. I almost couldn\u2019t believe that it led to this point. There were times when I was doing comedy, trekking up and down the country and performing to three people. I could drive to Birmingham from Glasgow and just be like, \u201cThere\u2019s three people here. What am I doing?\u201d And then you can\u2019t believe that\u2019s become something within Netflix.<\/p>\n

\nDanes: <\/strong>Did you discover anything new in the telling of it?<\/p>\n

\nGadd: <\/strong>When I was doing comedy \u2014 and some of the jokes in \u201cBaby Reindeer\u201d are genuine jokes that I used to do \u2014 I used to think I was at the vanguard of change. I was going to revolutionize the form.<\/p>\n

\nDanes: <\/strong>Yeah, well\u2026<\/p>\n

\nGadd: <\/strong>I would go up and down the country and be like, \u201cWhy are they not laughing? Why aren\u2019t they getting this? This is groundbreaking stuff.\u201d It wasn\u2019t until I parodied it in \u201cBaby Reindeer\u201d that I realized, \u201cOh, wow, what was I playing at?\u201d<\/p>\n

\nDanes: <\/strong>Well, you were playing! You are at the vanguard. A different vanguard than, maybe, the one you intended.<\/p>\n

\nGadd:<\/strong> I\u2019d ruined stag dos and hen nights. They would come expecting comedy.<\/p>\n

\nDanes: <\/strong>You are actually always on a razor\u2019s edge. You\u2019re poking at something uncomfortable. Now, more people are noticing and appreciating it.<\/p>\n

\nGadd:<\/strong> Agatha Wiggs is such an emotional role \u2014 a grieving mother. You bring such a rawness and intensity to every scene. How did you maintain the mindset all the way through? <\/p>\n

\nDanes:<\/strong> I thought pretty hard about what it might be like to lose a child before we started \u2014 and boy, was that unpleasant. The challenge with her was playing such an intellectual. Writers, they\u2019re not always the most performative people, but she had this animalistic self kicking in there. So how to honor both of those realities and have them convincingly coexist. But I realized, watching your work, there\u2019s a real parallel between the two stories we\u2019ve told. It\u2019s about people enmeshed, and one self is carried in the other. They\u2019re hostile relationships, but there\u2019s something deeply romantic at the core, too.<\/p>\n

\nGadd: <\/strong>I had this question in my head the whole time with \u201cThe Beast in Me,\u201d whether your character was in love with the Matthew Rhys character.<\/strong><\/p>\n

\nDanes: <\/strong>I think they were falling in love, weirdly, but there genuinely was no sexual tension \u2014 and that was curious. I\u2019d never seen that, or certainly never played it.<\/p>\n

\nGadd: <\/strong>It was like a psychological attraction? He had this sort of sociopathic mind.<\/p>\n

\nDanes: <\/strong>Yes, and she had very predatorial instincts, also. They weren\u2019t as overt, but there is something opportunistic and potentially exploitative about what a writer does, right? They have a lot of power they can abuse. But they were both suffering, and neither of them fully admitted to themselves the degree to which they were. He externalized his anger in a way that I think she wishes she could have. And they were also both pretty bright people who suddenly found another person who could think at their frequency, and they were thrilled by each other. She just found a good tennis partner.<\/p>\n

\nGadd: <\/strong>You guys had amazing chemistry.<\/p>\n

\nDanes: <\/strong>They were fun scenes. It was just throwing words back and forth, and how would you create suspense with these two people not making out? Where\u2019s the friction? It turns out there was plenty. But that was the trick of it. I\u2019m relieved we somehow made that happen.<\/p>\n

\nGadd:<\/strong> Do you ever get nervous? I always ask actors that. <\/p>\n

\nDanes: <\/strong>Yes, of course. The first week, it\u2019s just dreadful. You have this self-consciousness that you just have to shed, and the only way to move through it is to do it and feel like an asshole. Then you eventually convince yourself that you have a relative ease.<\/p>\n

Read more Beauty vs. The Beast: Here\u2019s Where to Watch Tommy Fury vs. Eddie Hall Boxing Pay-Per-View Live Online<\/a><\/p>\n

\n\t\tProp styling and art direction: Shawn Patrick Anderson\/Acme Studios; Assistant prop styling: Joseph Bell\t<\/h6>\n<\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Claire Danes and Richard Gadd join ‘Actors on Actors’ to discuss the high drama of ‘The Beast in Me’ and ‘Half Man’<\/p>\n","protected":false},"author":1,"featured_media":2062,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[54],"tags":[],"class_list":["post-2063","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tv"],"yoast_head":"\n\u2018You Mastered the Guttural Sob\u2019: Claire Danes and Richard Gadd on Body Transformations, Acting Nerves and Moving Past \u2018Baby Reindeer\u2019 - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=2063\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018You Mastered the Guttural Sob\u2019: Claire Danes and Richard Gadd on Body Transformations, Acting Nerves and Moving Past \u2018Baby Reindeer\u2019 - 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