{"id":124894,"date":"2024-01-23T09:00:52","date_gmt":"2024-01-23T14:00:52","guid":{"rendered":"https:\/\/filmmakermagazine.com\/?p=124894"},"modified":"2024-01-23T00:16:24","modified_gmt":"2024-01-23T05:16:24","slug":"jack-huston","status":"publish","type":"post","link":"https:\/\/filmmakermagazine.com\/124894-jack-huston\/","title":{"rendered":"\u201cYou Want It To Be So Familiar That You\u2019re Not Thinking\u201d: Jack Huston, Back To One, Episode 275"},"content":{"rendered":"<p>Jack Huston has worked with Scorsese, Ridley Scott, David O\u2019 Russell, The Coens, had meaty roles on series like <em>Mayfair Witches<\/em>, <em>Fargo<\/em>, and, maybe most notably, <em>Boardwalk Empire<\/em>, where he played Richard Harrow. His latest project is Lulu Wang\u2019s Amazon series <em>Expats<\/em>. On this episode he talks about gaining 30 pounds for that part (which wasn\u2019t as much fun as it sounds), why it all starts with the voice for him, writing and directing his passion project <em>The Day of The Fight<\/em> for Michael Pitt and Joe Pesci, and he reveals a common trait of all great directors he\u2019s known. Plus we discuss the current state of independent film, what we think should change, and much more. Expats streams on Amazon Prime starting January 25th. <\/p>\n<p>Back To One can be found wherever you get your podcasts, including <a href=\"https:\/\/itunes.apple.com\/us\/podcast\/back-to-one\/id1372499952\">Apple Podcasts<\/a>, <a href=\"https:\/\/playmusic.app.goo.gl\/?ibi=com.google.PlayMusic&amp;isi=691797987&amp;ius=googleplaymusic&amp;apn=com.google.android.music&amp;link=https:\/\/play.google.com\/music\/m\/Io7ws6gur4lfg24ynygv7vfthse?t%3DBack_To_One%26pcampaignid%3DMKT-na-all-co-pr-mu-pod-16\">Google Play<\/a>, and <a href=\"https:\/\/open.spotify.com\/show\/55EIFPtBeBXRkuuDV1qCci?si=vm3uWgNwQK2kwQ3ZMPzRmw\">Spotify<\/a>. And if you&#8217;re enjoying what you are hearing, please subscribe and rate us! Follow Back To One on <a href=\"https:\/\/www.instagram.com\/backtoonepodcast\/\">Instagram<\/a>.<\/p>\n<p><iframe title=\"Libsyn Player\" style=\"border: none\" src=\"\/\/html5-player.libsyn.com\/embed\/episode\/id\/29605458\/height\/90\/theme\/custom\/thumbnail\/yes\/direction\/backward\/render-playlist\/no\/custom-color\/080808\/\" height=\"90\" width=\"100%\" scrolling=\"no\"  allowfullscreen webkitallowfullscreen mozallowfullscreen oallowfullscreen msallowfullscreen><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Jack Huston has worked with Scorsese, Ridley Scott, David O\u2019 Russell, The Coens, had meaty roles on series like Mayfair Witches, Fargo, and, maybe most notably, Boardwalk Empire, where he played Richard Harrow. His latest project is Lulu Wang\u2019s Amazon series Expats. On this episode he talks about gaining 30 pounds for that part (which wasn\u2019t as much fun as it sounds), why it all starts with the voice for him, writing and directing his passion project The Day of The Fight for Michael Pitt and Joe Pesci, and he reveals a common trait of all great directors he\u2019s known. [&hellip;]<\/p>\n","protected":false},"author":18704,"featured_media":124895,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":"","wds_primary_category":0,"wds_primary_column":0},"categories":[3931],"tags":[3449,19002,18704,24870,3812],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/posts\/124894"}],"collection":[{"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/users\/18704"}],"replies":[{"embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/comments?post=124894"}],"version-history":[{"count":1,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/posts\/124894\/revisions"}],"predecessor-version":[{"id":124896,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/posts\/124894\/revisions\/124896"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/media\/124895"}],"wp:attachment":[{"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/media?parent=124894"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/categories?post=124894"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmmakermagazine.com\/wp-json\/wp\/v2\/tags?post=124894"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}