‘Kinds of Kindness’ star Jesse Plemons opens up about losing weight and that ‘Civil War’ cameo

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CANNES, France —

As a huge fan of both film and television, I’ve had the pleasure of witnessing Jesse Plemons’ extraordinary acting career unfold over the past five years. His ability to bring depth and nuance to each role, no matter how small, has left an indelible mark on the industry.

Jesse Plemons is deliriously tired.

At Cannes’ luxurious Carlton Hotel, the actor was lounging on a sofa with his long legs extended, bathed in the golden sunlight of the late Mediterranean afternoon. Occasionally, he expressed regret for momentarily losing his train of thought or stumbled over certain phrases.

I cannot blame him. It has been a long five years.

As a dedicated cinema enthusiast, I can certainly understand why Plemons, at 36 years old, might be feeling the weight of the film festival experience right about now. Coming straight off the world premiere of his latest work “Kinds of Kindness,” he’s been swept up in the whirlwind of Croisette parties, press conferences, and hours upon hours of exhausting interviews during the junket.

Since my interview with Jesse Plemons for The Times in 2019, titled “Jesse Plemons thrives as one of TV’s top character actors,” his career has taken off at an incredible pace. In the time since then, he has collaborated with renowned directors such as Jane Campion, Martin Scorsese, Alex Garland, and Yorgos Lanthimos. He also earned his first Oscar nomination and third Emmy nod, and a week after our conversation, he won the Best Actor award at Cannes. This success wasn’t something he intentionally planned.

I’ve found that taking things one step at a time works best for me when it comes to making career decisions. As someone who gained recognition as a teenager in “Friday Night Lights,” I’ve been relying on this approach for a long time. I don’t see the need to plan too far ahead, as my instincts have served me well so far. Instead, I focus on what captures my interest and excitement in the moment.

In “Kinds of Kindness,” Lanthimos’ latest production following last year’s Oscar-winning “Poor Things,” Plemons felt an eagerness tinged with apprehension. The Greek director’s distinctive methods left him momentarily adrift at times. According to Plemons, his rehearsals were unlike traditional preparations, resembling an actor’s challenging training camp rather than a simple script reading.

“Plemons remembers being primarily engaged in playing games and performing theater activities that Lanthimos had created and refined throughout the years. His initial impression after the first or second day was, ‘Is this entire process designed to leave me feeling utterly confused? Is that its purpose?’ However, he disagrees with the label of Lanthimos as deliberately enigmatic or secretive. Reaching a point of frustration, Plemons found it to be an enjoyable and freeing experience that broke the usual rules, even though the activities remained the same.”

The reason Lanthimos, in collaboration with his long-time writing partner Efthimis Filippou, has managed to gather a consistent group of actors such as Emma Stone, Willem Dafoe, Margaret Qualley, and now Plemons, could be attributed to their shared creative freedom. (Plemons has already joined Lanthimos for his upcoming project “Bugonia,” which is a remake of the Korean film “Save the Green Planet.”)

“Types of Kindness,” hitting theaters on June 21, features the following actors: Hong Chau, Mamoudou Athie, Joe Alwyn, and Hunter Schafer, in three distinct narratives. These stories have a darker tone, reminiscent of “The Killing of a Sacred Deer,” rather than the quirky absurdity of “Poor Things” or “The Favourite.” In these tales, Plemons portrays three different characters: a man who faces consequences for standing up to his boss, a husband trying to come to terms with his wife’s recovery from near-death, and an individual eager to win favor from cult leaders. Alongside Stone, Plemons shares the lead roles in this film. Despite Yorgos’ continuous assertion that it is a comedy, the heavy themes lurking beneath the surface – such as forced sterilization, cannibalism, and sexual assault – left both Plemons and myself uneasy, much like the audience will be.

From left, Margaret Qualley, Jesse Plemons and Willem Dafoe in the movie “Kinds of Kindness,” directed by Yorgos Lanthimos.
(Atsushi Nishijima / Searchlight Pictures)

He shares, “The second installment deeply affected me with an intense sensation and left me feeling queasy.” Regarding the chapter titled “R.M.F. Is Flying,” he explains, “This piece inverts the typical trope of a devoted wife longing for her husband’s revival, taking it to disturbingly extreme lengths.” He continues, “The visceral horror wasn’t the only reason I was uneasy – what I find truly remarkable about Lanthimos’ art is its capacity to stir profound emotions and reactions that are challenging to comprehend and express. Reading the script left me with a sickening sensation in my stomach, an overwhelming feeling that went beyond mere excitement.”

An intriguing consistency runs through Plemons’ roles in the film “Kinds of Kindness,” which initially made him uneasy. He had lost weight before being cast and feared Lanthimos preferred a heavier actor. In the first part, “The Death of R.M.F.,” his corporate character undergoes a rigorous regime imposed by his boss (Dafoe), who jokingly remarks, “Skinny men are the most absurd thing.”; in the third installment, “R.M.F. Eats a Sandwich,” he dons an oversized suit that accentuates his thinness. Despite the transformation causing some curiosity regarding his weight loss, Plemons acknowledges it was beneficial for the film.

He laments, “I regret choosing to prioritize my health at the same time everyone around me started taking Ozempic. People might assume I’m using the medication anyway. However, I don’t mind the assumption. It was reaching an age where I couldn’t picture myself in the shape I once was, and it’s a sensitive topic for me. Some folks suggested intermittent fasting, so I gave it a try and was astounded by its effectiveness. Before that, I had lost some weight, and then I felt good and in control.”

In “Civil War” by Garland, Plemons delivered a chilling performance as a volatile soldier guarding a mass grave, which became the most debated scene in American cinema this year. After wrapping up his work on the miniseries “Love & Death,” Plemons was eager for some downtime with his family while Kirsten Dunst filmed the photojournalism drama “Civil War” in Atlanta. However, she unexpectedly asked him to step in when another actor backed out from the role.

I couldn’t help but feel a pang in my chest as I read that part of the script. It was like hitting a punching bag to the gut – the suddenness of it took my breath away and left me feeling disoriented, as if the entire narrative had unexpectedly shifted gears.

After unexpectedly taking over the role due to unforeseen circumstances, Plemons’ dedication to prepare is remarkable. In a short time, he not only lost weight for the part but also immersed himself in Lt. Col. Dave Grossman’s renowned works “On Killing: The Psychological Cost of Learning to Kill in War and Society” and its sequel “On Combat: The Psychology and Physiology of Deadly Conflict in War and in Peace.” Inspired by Garland’s extensive knowledge of rogue soldiers, this insight influenced the choice of his character’s distinctive red sunglasses.

In addition, Garland discussed the design of “Apocalypse Now.” This film explores similar themes of soldiers and the transformation process. Initially, they seem conventional, but as time passes, their looks become more distinct and they accumulate various items.

In a similar vein, Todd Alquist from “Breaking Bad” made me recognize Plemons’ significant impact on every scene he graces with his presence. His compelling portrayals in “Civil War” and “Killers of the Flower Moon,” as a federal agent investigating mysterious Native American fatalities, have earned him the ultimate accolade from moviegoers on social media: A film is sure to be excellent once this actor appears.

“You reach a point of ‘F— it!’ and it becomes so much fun and so liberating and so exhilarating and you start to realize, ‘This is going to be a completely different way of working,’” Plemons says of “Kinds of Kindness” director Yorgos Lanthimos’ distinctive rehearsal process.
(Christina House / Los Angeles Times)

As a movie enthusiast, I’ve seen my fair share of memes poking fun at Plemons’ acting career. But he takes it all in stride, chuckling good-naturedly with his friends. However, he doesn’t intend to let such reactions define his five-year journey in this industry. For him, the appeal lies in the unpredictability of it all – working on diverse projects with various co-stars and directors, each bringing their unique “personalities, instincts, and sensibilities” to the table. Some directors I’d love to collaborate with include Sean Baker (Palme d’Or winner for “Anora”), Andrea Arnold (“Bird”), and the Safdie brothers.

A devoted movie lover with a background in analyzing Scorsese’s “The King of Comedy” prior to creating “Kinds of Kindness,” Plemons frequently advocates for Bill Douglas’ obscure trilogy of monochrome shorts depicting a Scottish boy’s maturation in a mining community during our conversation. It seems that pushing his creative boundaries is the sole non-negotiable factor in choosing film projects for him.

He believes that micromanaging or making quick judgments early on isn’t productive. Instead, there should be a time for exploration and learning, allowing for some trial and error before reaching a final decision.

He’s open to taking on any challenges that come his way as long as he has the freedom to perform in his unique style, which has earned him a notable career in films and television, despite being typecast as a “character actor.”

He often looks up to and is motivated by those actors (the ones he admires), he explains. As for labels, he’s not overly concerned with them. Size of the role isn’t a factor that matters much to him.

Plemons’ humility is likely the reason for his busy schedule since our last conversation. Any filmmaker would be attracted to collaborate with an actor who can transform an unacknowledged role into a notable cultural reference, or fully immerse himself in a rehearsal process that he may not even grasp yet.

I’ve been an avid moviegoer for decades, and I’ve seen firsthand how tireless dedication and hard work can lead to remarkable artistic achievements. However, even the most passionate and committed creators need a moment to recharge. That’s why I wholeheartedly agree with your request – give him the gift of time for a much-deserved nap. After all, the next five years hold immense potential for his continued growth as a filmmaker, and we want him at his best. Let us support him in this small yet significant way.

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2024-07-18 19:02