TIFFANY CORNWELL TALKS END OF THE ROPE

Interviewed by Culture Coast Talks editor Daniel John. Interview transcripts might have been edited for length and clarity.

Based on the Dennis Edward Johnson-novel of the same name which in itself was inspired by the true story around the Charles Bannon case of 1931, North Dakotas last lynching, 'End of the Rope' is a western-tale about a group of people being suspicious of someone outside of their group. What was it that drew you to this story?

Before I worked on 'End of the Rope', I had worked on a film called 'A Heart Like Water' with both director Charlie Griak and producer Daniel Belinski. The experience of working with them and the team they put together, in the beautiful North Dakota landscape, even in the middle of winter, was what drew me to learn more about the story told in 'End of the Rope'. As I read Dennis’s story, what drew me to the story was the humanity of the people involved. It’s easy to forget how true-crime stories and history impacted real people. But as I dove into the character of Sara it struck me how "close to home" these moments were to the real people involved, we actually filmed in the same town where the events of 'End of the Rope' occurred and we worked with the families whose parents were involved in the story. We visited the graves of some of the characters and a museum where we could see artifacts from the story! Everything was so much more real and close to home than a story. Nothing was held at arms length.

When did you start acting?

I would like to say I started acting at three months old in the church nativity but in reality, I started getting more involved in high school, when I auditioned for and got to work with the Palm Beach Shakespeare Festival. I remember watching the directors commentary of all my favourite films as a kid, and feeling so jealous of the actors who got to be on set and part of a film set.

You got some close guidance from a acting iconic, Burt Reynolds. What kind of lessions were he able to pass along to you?

Oh Burt, what a treat! More than an icon, an incredible mentor and human being. Not many people, with his history, would have taken the time to mentor actors every week, but he sure did! Burt taught me presence and heart. Something he had no lack of! He taught me to treat everyone, every single person on set with respect. He made me feel like the life I dreamed of was possible, a gift I will always be grateful for. 

What is your method of bringing life to a character like?

The goal of my “method”, if I can call it that, is as my mentor John Hindman says, “a bigger, softer heart”. Technically, it’s a mixture of some Meisner, text work, memory creation and a sprinkling of Warner Loughlin technique. I think that, like for most actors, my “how I get in there” is constantly changing and is triggered by something different for most of my characters. As I spend more time in study and I’m almost always in study of some kind my toolbox grows and morphs along with me.

What of Sara Jacobsen, how did you view this character?

Sara is what happens when someone loves completely, loses that love and is consumed by it, she is feelings and fury driven by love and consumed by a single moment. She is a mother in the most raw, painful sense, of the word. I fell in love with her the first time I read this script, and I love her to this day.

Trying to make it in Hollywood can be a bit like like the Wild West, being on the frontier of creative life. How do you make sure your energy and value are put in the right places there?

It’s difficult. I try not to focus too hard on what is wrong in the industry, but rather on what I can do to feed my own creativity and artistry. Sometimes it can be taking classes, other times it is writing, and sometimes it is attending networking events. It changes constantly. But the only thing I can do is work on my own artistry. The industry will do what it does, but no matter what the industry does I will still be an artist.