JASON PIERCE TALKS FLESH AND BLOOD

Behind the Coastline

You are reading an independently published interview-series published and carefully curated by Swedish pop-culture journalist Daniel John. Ever since its start in 2015, the core curiosity remains the same, surfing the creative currents of music, film, fashion and everything else on the pop-radar, catching the waves of culture as creative

Culture Coast TalksDaniel John

Within the walls of a church, a session meant to help a mute little girl open the door to a dark, monstrous confrontation, blurring the lines between perception and faith. Horror often lives in moments of reaction, what was yours stepping into 'Flesh and Blood'?

'Flesh and Blood' was so lovely executed by an amazing collaborative team. Nathan Presley was such a pleasure to work with and he had a clear path to his vision that he showcased so well with the help from his amazing team. Every actor that I worked with on that set was at top form and everyone made it so easy to fall into the world he created. Mark was a complex character that I really enjoyed bringing to life with subtleties and raw emotion.

Can you tell when the director is also the writer, as on this one. Does one singular voice provide a particular clarity around the material?

It is great when the director is also the writer to me. They have a clear vision on what they are trying to accomplish. They have seen it in their minds long before the first action is called, it is wonderful to see, because you can feel their passion and energy, what it means to them. Nathan proved that with this project. I loved working with him and his crew. He has a clear vision on how he wanted this story to be told and he did a beautiful job.

You used to be a college high level athlete, competing in football and track, was sport the primary focus back then or did the creative side always run alongside it?

My acting career was non existent and a learning experience that is still unraveling as I answer this question. Athletics was my focus since the age of four, playing everything and anything. How I got into acting is a long story that I won’t bore anyone with but it was something I was always intrigued by. Movies were a big influence in my life and many have shaped who I have become. Films like 'Fight Club', 'Dead Poets Society', 'Peaceful Warrior', 'There Will be Blood', and the list goes on. Because of the impact these films have had on me in a positive way, made me want to pay it forward. My main focus in acting is truth, I want you to feel what I am going through and take you on an emotional ride. Then, I want you to forget me. It is all about the moment. If my work can have you question your thoughts, feelings and emotions, job done!

How do you view the health and fitness of acting. How do you balance the physical and emotional demands amid an actor’s life?

Without the journey and structure of athletics, I would be a person I would not recognize. The hard work, effort, preparation, collaboration groomed me for acting, but more importantly life. Behind the “glamorous” life of an actor, there are so many levels of physical and mental demands you must deal with, especially if you plan on being great. When things are challenging and hard, that is when you grow. To be a great athlete, actor or anything for that matter, you have to be willing to be uncomfortable and challenge yourself, it is all about finding balance.

What is your approach for getting into a new role?

Every role is different and I approach it that way. My main three points that will never change in how I approach projects are to always be early, always know the text and always have ideas. The rest depends on what is required by the character. Instincts are my major tool for acting, being present when it is happening and reacting. Whether I am on a PTA-set or a low budget indie film, it is approached the same way. In this business, trust is everything. If someone hires me and trusts me to bring their project to life, they deserve everything from me. To me, being picked for any role is amazing. They are trusting me with “their baby” and I cannot let them down. With this film in particular, I chose not to eat for the whole production and a few days leading up to it. Mark seemed like a lost desperate soul. I wanted to be cleansed and depleted, and a little weak. Let’s just say by the time I was kicking that door down, I was just that.

From the iconic shows you’ve been on to film sets with directors with their own unmistakable styles, I'm interested in your perspective on working on different sets?

I love being on set, truly. There is no place I would rather be. That being said, when I am not acting or on set or preparing, I am completely out of it. Being on big budget sets or low budget sets, the work is the same to me. You just get a better place to sit, and better crafty. Every director I have worked with has been great, and I am not just saying that. Everyone has their own unique style and approach to accomplishing their goals and I love that. It keeps you on your toes and it sharpens your tools with each project, I love learning and trying to get better. Every set is a new experience because each time we are all doing it for the first time and problem solving together. My role is such a small piece of the puzzle, I just do the best I can and let the real artists and creatives elevate me.

You're clearly staying busy?

Man, I have been so fortunate that I have continually been chosen for anything. I have a handful of films floating around the festival circuit and another dozen on the cutting room floor. The unknown is a great place to live, especially in this business. There are so many beautifully talented people roaming around out there, and if I can be apart of the club where I am respected by my peers, I consider that making it.