Pierce, still best known for his Emmy-winning role as Niles Crane on Frasier, spoke about Perfect Host's playing against type, why he still watches old episodes, and why he'd never play another variation on his most famous character.
This poster is kind of transfixing every time I look at it. What do you think of it?
I think it's good. I think it's great! I love the slogan, or the tagline. Or whatever you call it.
You're so menacing!
I think what's good about it, too, is that people who know me -- like, from Frasier -- recognize the face. Clearly this is going to be something slightly different from what they're used to seeing. So hopefully that makes them go, "Oh. Well, maybe we should see this, since we haven't seen him do whatever it is he's doing with his fork in that man's ear."
It is a pretty crazy role. Was it the type of thing that you knew you had to do as soon as you read it? Or did it require some coaxing?
It didn't take coaxing. There were a few meetings just to see how it would go. But I read the script, and I loved it instantly. I loved the writing. I think any actor would love the character; it's such a juicy part. There's a short film the director had done that this is based on, so I saw that. I got to see his work as a director, which I liked a lot. Just visually, it was, "Whoa. He really knows what he's doing." Then it was just a couple of meetings with Nick, the director, to make sure we were thinking along the same lines [about] how to approach this complicated character. We hit it off, and that was it.
He credited you with taking "a risk" with this role. Did you perceive it that way?
No. It didn't feel like a risk. I think that the main reason it may have seemed like a risk was that most people -- including Nick -- know me from Frasier. If that had been my only acting experience, then this would be quite a plunge. But I've done a nuber of different things in theater for many years -- very heavy stuff, very crazy stuff. Just being in the theater for almost 30 years, you're exposed to a lot of wild and crazy people and stuff. So there was nothing out of my experience where I thought, "Oh, wow, what do I do?" I remember on the set there were these very dark and intense and disturbing scenes, and Nick was, as any good director would be, very solicitous and wanting to make sure I was comfortable and everything. And I was like, "Yeah, I'm fine! I'm fine. It's not a big deal for me. I'm happy to do this."
Speaking of that, was there ever a moment where you or Nick were compelled to pull the character back a little bit? That maybe he was too much?
That's a good question. [Pause] I would say that the character is fundamentally on the page. Because of the arc of the character -- there's so much complexity in what's going on with him the whole time -- there might have been sort of nuances where Nick said, "That's too much." Or, "Do more." Or whatever. But in general, he had expressed it so clearly in his writing that I don't remember having a lot of questions. The style of the piece, the nature of the character, and everything else just seemed to be evident.
We always hear about how a set is "closed" when shooting a love scene or something especially intimate. And while there's no romantic relationship between Warwick and John, the intensity and intimacy is such that I wondered what the shooting conditions were to create that experience.
What made it intimate, first of all, was that we had a week of rehearsal ahead of time where it was just me and Nick and Clayne. That was invaluable. We got to discover how to work with each other, which happened very quickly. Especially when you're playing characters who are such antagonists, it's so important that you're able to work together. Ironically! We found that out right away, which was great. We were able to work through dynamics. I hadn't thought about it until you asked the question, but aside from the fact that we didn't have time in the schedule to figure these things out on the set, it would have been strange. The privacy of that rehearsal time was very important in developing trust with each other -- knowing we could try anything and see where it went. By the time we got to the set, the chemistry was there between us, and our relationship with Nick was there. I think that was really important.
Considering everything that happens at this dinner party and the way the story is told -- but without spoiling anything -- just how crazy-making was this role?
I think that the complexity of what's going on in the scenes is probably more of an issue for the director than it is for me, especially with the short shooting time. You can't just shot everything and then figure it out in the editing room. He knew exactly what he wanted, and he's really good. What he wanted was the right thing. And again, I go back to that week of rehearsal -- that being able to chart where everything went really helped. So no. I didn't feel inappropriately crazed.
What was your reaction to the film the first time you saw it?
[Long pause] What was my reaction? I remember we were at the producer's house in L.A. My agent and I were sitting on a sofa watching it on a big screen. [Pause] I want to give you an absolutely honest answer, because I... [Pause] I was very pleased, but I had to see it again. It's a lot to take in. Ironically a lot of audience members said they love seeing it a second time because it's one of those movies where everything's a surprise, but you go back through it and say, "OK, he knew this? What? Oh, really?" And you have to chart all that stuff. Also, the very first time I saw it, it wasn't completed. Still, I thought, "Oh, I'm very pleased with it." When I finally got to see the final edit -- with all the music and tightening everything up -- I just loved it. I thought, "Oh, yeah -- this is exactly what I thought we were all making." I was very pleased.
And your performance? You think you got Warwick? Was he was presented fairly?
Yes. That's what I meant, that's what I did, and Nick put that on the screen.
Do you ever look back at work? If Frasier is on TV while you're flipping through channels, would you stop and watch it?
Absolutely. Absolutely. I love that show. Part of it is just affection. I love the people, I love the writing. It takes me to a place where we were all having such a good time together. Now it's been so long that I will laugh out loud. Some of the lines, I hear them just before about to happen, so it makes me laugh. Or they surprise me again. Such great stuff.
What's your relationship with Niles Crane all these years later -- that inseparability that comes from playing a long-running hit-TV-show character?
It's less like that now. First of all, it's been so long since the show. Maybe it's because I've left that world and I'm here in New York doing theater, so I'm more in tune to audiences coming to stage doors and seeing plays that I'm in and talking about the characters I've just done -- not necessarily Niles. But my relationship with the character? I'd have to say I just have nothing but affection for him. We had such a good time together, and when people do come up and talk to me, they're so enthusiastic and affectionate -- not just about me and the character, but the show. So many times -- it just continues to happen, I think because of all the reruns -- people come up to me and say, "You got me through the worst times." Which is not something you're thinking about when you're making a sitcom.
I'm very close with Niles, I think, but I'm glad to step away. One of the blessings I got from that show was enough financial security that I'm able to choose what work I do instead of take whatever comes. And therefore, I don't choose to do characters who are like that. I've done him! If that's what people want to see, then that's fine. But I don't have to do it. That said, one of the things I loved about The Perfect Host is how it took a very similar kind of character and then moves him in a very different direction.
Is there something to be said for the transitory nature of theater? That the show and the performances are one of a kind -- here today, gone tomorrow?
Well, I did Spamalot for a year and a half.
OK, so a few months to a year or more. But then...
Yes, there is. There is some old Japanese saying about a teacup that's so fragile that if you touch it, it will break. But that's what makes it valuable -- its fragility. You can't make 100 of them and bounce them off the floor. That's what the theater is to me. It forgoes posterity. It's about all of us in the room right now, and I love that. Ultimately, without getting too philosophical, that's the nature of life, too. Who knows? Tomorrow you might get hit by a... cow. Or something. That's less likely. But on some deep, fundamental, philosophical level, I really believe it about the theater -- about being in the live moment with the audience.
Is there one theatrical role -- or maybe a historical figure -- that you want the opportunity to play at some point in your career?
[Very long pause] You're not the first person to ask me that, but you're the first person in a long time to ask me that. I hoped I would maybe have an answer, but I don't tend to think that way. I sort of look at what I'm given.
Let me rephrase the question: Is there a performance that influenced you enough to enter this trade that you look forward to maybe playing yourself?
That's interesting. [Very long pause] I guess it would be... Nothing's coming to mind specifically, but I guess it would have to be something from Chekhov, because Chekhov is so rich. But I've also enjoyed creating new work -- creating with and author and a director and cast. A new character. All the great Shakespearean roles, like Hamlet... I never felt like I had anything to say with Hamlet. I think there are other people with a million things to bring to Hamlet, and I just never really did. So I don't have those kinds of things.
Are there any directors you hope to have the chance to collaborate with again?
I worked with Steven Soderbergh. I love him; I'd work with him again in a heartbeat. Same thing with Mike Nichols. Oh, gosh. This is hard for me! It's so funny; I really don't think this way. I don't project myself that way, and I probably should.
I put you on the spot!
It's not on the spot, really. I think a lot of people have answers to those questions, and I'm startled that it's been probably three years since anyone asked me and I still don't have an answer to the question. I guess I live more in the moment.
The Perfect Host opens Friday in limited release.