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Back when I was a messenger for Standard Oil in Rockefeller Center, I worked with another guy there named John Cazale. He was a few years older than me, lean looking, with a low-key manner. He had a modesty about him, but also a sense of reality, a groundedness about how the world really worked. He seemed to know something about everything. My grasp of the state of global affairs was that Hitler was gone and that was a good thing. Other than that, I had no idea what was going on. Johnny would be reading The New York Times, understanding every issue and making it comprehensible to me. At least, he tried.
To my great surprise, when I showed up in Provincetown to start rehearsals for the play, there was John Cazale, who had been hired to take over the role of the Indian. He was the sweetest man ever, but he had a unique way that he liked to rehearse. He did not just simply want to run lines. When you did a scene with John, you’d start talking through the scene, and he would question every line, every word choice. It was an interrogation. He’d say to you, “What am I doing? I’m standing here. What do I think of that? I don’t know what I think of that.” They call it the unconscious narrative. And this is how he was. Then before you knew it, as you kept talking and talking and talking, you’d just slip into the scene with him. There’s a certain trust that comes with acting, like tightrope walking. With John, I knew that I had found a scene partner for life.
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