Pendleton has been associated with Steppenwolf Theatre Company since 1979 (he's now a member of the Steppenwolf Ensemble), initially as a director, then as an actor and a playwright. Although based in Manhattan, Pendleton has directed five plays at Steppenwolf, acted in five more, including the current world premiere of Don DeLillo's Valparaiso (through March 26), and written two plays produced at Steppenwolf, the most recent being Orson's Shadow, which had its world premiere in Chicago in January.
TM: Actor, writer and director. Do you like to be called a triple-threat?
Austin Pendleton: No. The word "threat" implies that it's going to sweep everything before it.
TM: Which do you like best?
Austin: I like acting and writing the best, and it's very hard to compare those two. There's no more gregarious life than acting, or any less gregarious life than writing. When I direct, I have to be really dragged into it.
TM: Who taught you the most about theater?
Austin: Nikos Psacharopoulos. He ran the Williamstown (MA) Theatre Festival for 35 years, and I apprenticed there. He got me started as a professional director, and I acted there a lot, often under his direction. I think he's the most underrated figure in modern American theater. He shaped so many people's ideas about how to work, and what to try to accomplish.
TM: You've been acting for 38 years. What's you're best performance?
Austin: The production that Nikos directed at Williamstown of The Three Sisters the part of Tusenbach, would be one of them. Last year a couple of Shakespearean parts I did with the Frog and Peach Company in New York [would be others]. I played Shylock, and before that I played Claudius and the Ghost in Hamlet. This is not only my own feelings, but what people told me.
TM: Would you like to do more film and TV work as an actor?
Austin: Yeah, I wouldn't mind.
TM: For the money, or do you enjoy it?
Austin: All of that.
TM: What's the difference between acting for the stage and acting for the screen?
Austin: I don't think there is one. Orson Welles says, in that book of interviews with him by Peter Bogdonavich, "It isn't about the size, it's about the focus." And he always uses Jimmy Cagney as an example, whose work is wildly theatrical, but he's a great film actor. If an actor has a focus like a laser, it can work in either theater or film.
