An unexpected invitation to appear as himself in writer-director Todd Field's film gave Gopnik a rare and revelatory insight into the craft of acting: on set, on stage, and in everyday life
In a once famous passage by a once famous writer, the 19th-century French symbolist Anatole France imagined a group of penguins in the South Pole being baptised by a near-sighted saint. When the angels in heaven recognised the birds’ baptism, France writes, “it caused neither joy nor sorrow, but extreme surprise.
And then in truth this was not, in any way, my first rodeo. I had spent my childhood on the stage, appearing countless times in plays and advertisements before the age of 12, in particular as the sort of Shirley Temple of an avant-garde theatre troupe run by the great director Andre Gregory, still a friend some 60 years later.
I was, let me say, pretty good at playing myself, though I was also acutely aware that playing myself was a manifold event. The great sociologist Erving Goffman wrote once that, in our social life, we are all playing a part all the time, and that most of us find a mask to wear in adolescence and keep it on until someone pries it off.
One further truth of movie-making, talked of by all who participate in it, is that the actor knows his or her scene and its mechanics, and knows nothing of the larger show that he or she is in. So, in a way it was the aftermath, and the afterlife, of the experience that burned most brightly.
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