The amazing actor Daniel Rovai, singer and all around entertainer that has recently landed a role in Harmony Korine's 'Mister Lonely' opens his heart in an exclusive interview. French born Daniel has been on a remarkable roller coaster ride travelling Europe and around the globe. clowning and busking on the streets, touring with theatre groups, being a stunt man at twenty two, then a puppeteer a couple of years later, winning the price for best clown comedian at the Covent garden Street festival in 1984. It was such a pleasure to talk to the one and only Daniel Rovai.
What inspired you to become an actor and what is the driving force that keeps you going?
Maybe it was in my gene and I did not know it. You see I had an old Italian accordionist great grand father who apparently used to go around the villages playing until he made enough money, then he will return home to feed his family. My mother wanted to sing opera. But in those days it was like being a prostitute, especially in Corsica where she grew up. So she sang in the kitchen and local choirs for the rest of her life. I am the one who made the attempt to be a "travelling player" and it was the right time to do so because we were in the 70s and the artistic life was greatly encouraged then. But my greatest inspiration, which took me all the way to England to finally met the Footsbarn theatre, was the film from Ariane Mouchkine (Theatre du Solei, Paris) based on the life of Molière. I realized from that time that in order to become a real actor you have to leave the protected walls of sponsored theaters and cultural fortresses and tour villages so that you can meet the folks that will enrich your human background.
What was your first ever role?
My very first "important" rôle was the one of the wanted man in "The rising of the moon" from the Irish writer, Lady Gregory. It was in my drama course in Paris suberb with my drama teacher, Robert Moulin, who has now died a long time ago. That play, and the encouragement from this wonderfully dedicated teacher was the sparks that decided me to make a "career" of it.
As a child what kind of movie / play did you enjoy the most?
Movies: Chaplin of course. But also "les enfants du Paradis" from Marcel Carné, which was a wonderful experience for me. The seven Samuraï from Kurosawa had also a strong effect on me. And I must also say that, my mother being a true communist of the early days, I was fed with quite a bit of the old classical Russian movies: Einsenstein (The strike, Potemkin, Ivan the Terrible etc...) and which I used to find absolutely mesmerizing. As for theatre I remember having seen Gerard Philippe on stage when I was a kid. It was in "The Prince of Hamburg" from Heinrich von Kleist. I saw him on stage crawling, crying real tears, begging for his life to be spared... I did not know you could go that far with emotions on stage. I was amazed by his totale dedication as a man of art but also of peace, especially when, a few weeks later in company of my dear mum, I saw him speaking in public against the sending of French soldiers to colonised Algeria. But I also like groups who have given theatre new faces and conquiered popular publics, like Royal de Luxe, Theatre de la Complicité etc...
What was the most demanding role you have had?
The most demanding rôle I have ever played was Banquo in the magnificent and Aboriginal version of Macbeth by the Footsbarn theatre. The company had created this show while staying on an Aboriginal reserve in Alice Spring, Australia, on the end of a long one year tour. I was not with there then, although I had been working with them ten years erlier and for four years. When they returned to Europa, the actor who was playing Banquo, left the group for some imperative reasons. I had to replace him in a very short time because the show was sold in France and all over Europe. As many people got a very fixed idea on the way of playing Shakespeare, plus Rod was a strong actor, and finally I have always had a slight French accent in English even though I master this language totally, I had to put in a lot of work to see my way of playing him being totally accepted. I worked a lot on the presence of Banquo, his straightforwardness, his strong, physical and good guy's aura. I also played his ghost with great pleasure using this same qualities and made him felt like an immortal and unforgotten character of the play.
How did you land the part in Mister Lonely?
Through my London agent, Anita Alraun. Then I came for my audition from Amsterdam to London. Nothing of what I had planned (tricks, routines etc...) worked in front of Harmony, and so it became quite funny because I had to catch up this failure and improvise like mad. He seemed to really enjoy it and I heard three days later that he was taking me to play the part of Moe.
What was it like working with Harmony Korine?
Although I can recognize a strong and poetic style in Harmony's films, and I have enjoyed to see him at work, I have not really had the possibility to get very close to him during our shooting because he was very busy with the lead parts. Still, I appreciated that he knew what we could do, and as our parts were hardly scripted he often gave us "carte blanche" and seemed to enjoy what we improvised, although a little feedback at times would have been highly appreciated.
Do you prefer live theatre or film and is one more challenging than the other?
There is not really a comparison to be made. To play in theatre you have to be able to project emotions without giving the feeling that you are overacting. With film work you really have to work from inside, with great natural, and try to minimise all what you do, even if sometimes you feel that you have not done anything except being there. But being there and present, is what is been asked from you. The rest is to know which sort of character you are representing, melt yourself under his skin, and serve the story you are supposed to be telling the best as you can, and with the trust of your director's eye.
Have there been any major changes concerning the industry during your time as an actor?
Of course there have been many changes happening in the film industry these last years, and the invasion of American movies and series has been hard onto our European cinema, although it seems as if this is getting better now. But personally I have never been directly affected by those changes because I have always kept going in a pluri disciplinary direction. That means that I would not stay at home waiting for the eventual part in a film offered by a casting.: far too frustrating for me. So I kept on working in theatre, created my own comedy group, worked with musicians and created a band, directed, teached etc...Of course I loved film work, but I always treated those offers as occasionnal opportunities. This have change now and I really think that I am ready for a more involved career in films, also because I have a lot more to offer than twenty years ago.
What advice would you give young actors of today?
I think that many young people are this days being influenced by all those new fashion sitcoms and reality TV shows on how to become a star in a couple of weeks. To be an actor (or singer etc...) means for them becoming famous and recognized, loved and rich. I don't want to sound idealist or pretentious but I never thought, throughout my all career, to become a "star". I just wanted the opportunity to live my passion for playing, which I have managed so far and for the last thirty years, and I feel that this is already an accomplishment. The Acting world has partly become a big casting factory where everyone gets type casted for a film or two, then forgotten. So I would say to young actors: Look backward, to what has been written, done, inspire yourself, find nice and challenging texts, old or modern, be genuinely interested into people because at the end this is what will provide you with the inspiration for your characters. And most of all, work on yourself, even if you think that your are a genious and natural actor. Learn how to move, to dance, how to work with masks, maybe playing an instrument. The more you diversify yourself and the more opportunities you will see and cease to keep on exercising your "trade". And remember that there are only a few chosen and lucky ones that go through the big door, still being an artist is not to go quick to the top and disapear, but to last.
What are your plans for the future?
I try as much as possible to enjoy the near future, like those few concerts I am doing with my band this summer, my trips to Bourgogne where I am renovating an old ruin, my vist to my daughter and sweet little grand daughters in Paris. But to be a little more acurate as far as you question is concerned, I am very much looking forward to be working next winter with Janez Burger, a young new cult film director from Slovenia. His work of the last three years has been quite amazing to my opinion, and I think that this new film, "Circus Aritisticus" will be something very special. I Maybe we can talk another time about this project. In any case, and if you are interested to know more about him and his work, you can always go to www.staragara.com
Amber Models UK
Amber Models Sitemap
