Sebastian Roché
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Sebastian Roché, a French-Scottish actor, is known for his work in “The Young Pope,” “The Man in the High Castle,” “Genius: Picasso,” “The Colony,” Michael Bay’s “6 Underground,” and more. He recently starred in the horror anthology “Guillermo del Toro's Cabinet of Curiosities”and he currently plays Father Renaud in the Yellowstone prequel series, “1923.”
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You just starred in “Lot 36” of Guillermo del Toro’s Cabinet of Curiosities. Is there anything in particular about horror or supernatural projects that draws you to them?
I don’t necessarily choose that genre, but it seems to find me. In that case, working with a master filmmaker such as Guillermo Del Toro was the primary attraction. He co-wrote the episode, and Guillermo Navarro, who was his brilliant cinematographer on “Pan’s Labyrinth” and “The Devil’s Backbone,” directed the episode. I was in good hands. I’m drawn to that type of project because the characters that I usually get cast as in them are mostly powerful, complex, and dysfunctional. And, bad guys are always the most fun. They require experience, razor sharp focus, strong technique, and commitment as an actor.
What do you consider to be the scariest part about modern horror?
One filmmaker’s name to me stands out immediately: Ari Aster. His movie “Hereditary” is a masterpiece of smart modern horror. He rides the fine line between reality and familiar horror tropes of possession and mythology, but with such an amazing command of the camera, lighting, acting, and a stunningly terrifying musical score that matches his macabre story. It’s the originality and sudden horrifying blunt violence in his storytelling that makes one’s hairs stand on the back of your neck. And then there’s horror based on true crime, which is as scary, but not as interesting to me.
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On a different note, you are starring in the Yellowstone prequel series, “1923.” What is it like to play out an experience that existed 100 years ago?
It’s always fascinating to recreate the past, to recreate moments of history as an actor. I take it seriously because some of those moments are difficult ones. I try to be as faithful to the times and the character that I play as I can by doing research and by gathering as much information about a character who existed, or the composite of a character that existed. Such is the case in “1923.” It’s a period of change, great turmoil, violence, and cruelty in Montana, in the west in general. Taylor Sheridan is such a brilliant writer; his knowledge and style are so impeccably rendered in our series. And embodying the role of Father Renaud and the horror of residential schools has been challenging, but necessary for the world to discover. It is also fascinating to experience; you sometimes forget that you live in the 21st Century and get lost in the world that you’re trying to recreate.
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Your co-stars in “1923” include Helen Mirren and Harrison Ford. How does your work process go with incredible actors?
Working with such legends truly is a blessing. They are masters at their craft, acting with such authority, certitude, honesty, and subtlety. You just bounce off the richness of their eyes, and the generosity of their acting. It’s a dream come true; you barely have anything to do. What a gift to us.
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You have a history of working in theatre, as well. What’s something about theatre that you can’t necessarily find in film or television?
It’s the connection with the public that is different. I love both art forms, but theatre gives you that immediate, visceral response from your audience. It’s a spiritual experience at times. When you’re one with your audience, and they capture every nuance of the text or character, it’s indescribable; how shall I put it, vibration that you share with people who are feeling and sharing this rare moment you have on stage. It’s as if we are all living the same energy, the same focus and concentration, and your audience can demonstrate their approval with a laugh or an interjection. It’s magical. You can have these moments of magic on set, as well, except that the crew can only show their approval once we’ve yelled cut.
Are there any plays that you have seen recently that have really wowed you?
I saw an amazing production of “Antony and Cleopatra” at the National Theatre in London, just before the pandemic, with Sophie Okonedo and Ralph Fiennes in the title roles. What a gift it was to see these two exceptional actors at the top of their game. Talk about vibing with an audience. Pure heaven. So inspiring.
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Your early career encompasses French film and television. Is that an industry you would like to tap back into?
Yes, I would. I have great admiration for some of the work coming out of France. It has been a secret desire of mine to go do a French movie or series and rubbing shoulders with some great French actors, some of whom I went to drama school with.
In your recent film “Heatwave,” you reunite with “The Vampire Diaries” alum Kat Graham. What was that reconnection like?
It was wonderful. I was working on another job, and she fought to make it work for me. I love her ambition and passion, and she was such a great scene partner.
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Where do you see yourself next in your career?
We are doing season 2 of “1923,” so I can’t wait for that. On the other hand, I have been writing considerably and always have been interested in the directing side of our industry. I directed a couple of plays in the past, but I am fascinated with the art of movie making. I’ve written a script that has garnered interest and am hoping to direct it in the near future. Being creative, the work is what is fundamental to me.
Social Media.
@sebastianroche
CREW CREDITS:
PhotoBook Editor-In-Chief: Alison Hernon
PhotoBook Creative Director: Mike Ruiz + @mikeruiz.one
Photographer: Ben Cope
Talent: Sebastian Roché
Fashion Stylist: Douglas Hickman
Groomer: Rachel Burney at The Wall Group
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
Interview by Alison Hernon, Editor-In-Chief, PhotoBook Magazine
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