Paul Dano is Ready for His Next Mission

Paul Dano has done so much in a career that's spanned two decades, and he's just getting started. The star of "Little Miss Sunshine," "There Will Be Blood," "The Batman," "The Fabelmans," and so many more already appeared in Prime Video's "Mr. and Mrs. Smith" this year and drops this week in Johan Renck's "Spaceman." In this daring sci-fi film, Dano voices a massive alien spider named Hanus by a cosmonaut played by Adam Sandler. Serving as a sort of guide into the far reaches of space and emotion, Dano nails the vocal challenge of a unique sort of two-hander, and it's just another interesting choice in his fascinating career. Calling into RogerEbert.com, we started by talking about my love for his directorial debut, 2018's "Wildlife."  Will you write and direct again? Yeah. I think writing is the hardest part. It takes me a while. And with acting—that’s what I’ve been doing—so it involves taking a break from that, which is what I’m doing now because my wife [Zoe Kazan] is in a play six days a week, and I’m at home with the two kids and writing. My dream is to try to make something in ’25. We’ll see if that comes to fruition. I’ve got a couple things that I’ve been writing, and I think they’re getting close to be able to do something with them. But, yes, I think I will. I hope I will. How did you find the tone for Hanus? It’s almost a meditative vocal tone. How did you settle on it? There was something about ... the spider has a mouth and teeth and all that, but he’s also kind of going through Jakub’s memories or feelings. He felt like a doula to me. Or a spirit guide. With his telepathic powers, it felt intuitive to think that if you can see so much that you only need to speak a certain amount or a certain way. I think another part was just playing with the language on the page, and the script. Feeling that out. What are the words telling me? What do they seem like to me? What do they sound like to me? I think if you’re going through this alone, emotional, existential crisis—it felt like I should be guiding him in the most intimate way possible. When I talk to performers about themes in films, they commonly say that they have to play character first, but your role here is kind of an emotional extension of Adam’s. So do you focus more on the thematic purpose for your character more than the literal one? Well, yeah, I do, but I think there’s value in both. I think it’s important to look at what the film is about, and what the piece is. What does your character mean to it? But I do agree that, at the end of the day, what is emotional or actionable usually comes from character, and that’s your sort of ultimate purpose. So I took Hanus at face value, meaning that he was this actual being who traveled all this time and space and galaxies and years. And his civilization was lost. And he saw a lone traveler headed back to the place he was going. I always sort of thought, ‘What does this guy need from Jakub?’ I think it ends up being some sort of human connection that is love because I don’t think anyone wants to go back to the beginning alone. They sort of have each other and a jar of Nutella. Whether the beginning is death or rebirth or whatever it is. At what phase did you know what Hanus looked like? It grew. Certainly, I didn’t have any fully rendered images. But the artists were wonderful, and super collaborative. I can’t remember if she was the lead designer, but we had a very long in-depth conversation about everything to do with Hanus—emotional, physical, philosophical. They were really impressive to me in their want to understand the character and try to build that into the way it looks and moves. Or the belief that if they arm themselves with that as they design that it goes in there somewhere. You hope you just kind of fill up with everything. You metabolize in some way. So I found they were doing the same thing. So I knew enough of what Hanus looked like and then there were different stages of post. I think I did a voice pass that was from the edit room. And then we did one with a helmet thing on for facial movements. And as they got into more of a locked-in cut, we would do final voice work. At that point, the creature was maybe there, and you could see exactly what he was doing. I would say that it was a very, very free way to work. If you’re just in a dark room alone, talking into a microphone, it’s a lot different than a room with 100 people and a camera rolling. There was something that was really fun about it. Doesn’t that also require a lot of trust and confidence in your collaborators? When you sign onto something like “The Batman” or “The Fabelmans,” they’re kind of a known quantity. You have a good idea of what the final product will look like. But here you’re trusting your collaborators to go anywhere. There’s freedom but there’s also a little fear in that freedom isn’t there? There is, but I do think that there’s one part of acting that’s kind of stranger to recko