Darren Criss talks about his most challenging role to date—playing Andrew Cunanan
Darren Criss plays Andrew Cunanan, the biggest and most dramatic role in his career in “The Assassination of Gianni Versace: American Crime Story.” —Jeff Daly/FX Networks
(First of two parts)
LOS ANGELES—In a room inside the Versace mansion in Miami, just a few steps from where Andrew Cunanan fatally shot the designer, Darren Criss was told that Ryan Murphy, who cast him in “The Assassination of Gianni Versace: American Crime Story,” paid him the supreme compliment.
Hearing that the award-winning executive producer-director cast him as Cunanan because he always knew there was a great dramatic actor in him, Darren gave a fittingly serious answer. Playing the serial killer, who murdered at least five people, is a big shift for Darren, who first worked with Ryan as Blaine Anderson in the musical TV series, “Glee.”
“Oh, how far we’ve come,” Darren quipped with a laugh. He has taken off his gray suit jacket. “Miami heat is getting to my head,” he explained.
We were in a room with walls gilded with mosaic tile work and stained glass windows, typical of the designer’s lavish home.
Like Cunanan, Darren is Filipino-American. The actor— the son of a Cebuana, Cerina (nee Bru), and Charles William Criss from Pennsylvania— noted his eerie resemblance to Cunanan. The latter’s mom (Mary Anne Schillaci) is Italian-American, while his dad, Modesto Cunanan, is Filipino.
For the actor who starred on Broadway in “Hedwig and the Angry Inch” and “How to Succeed in Business Without Really Trying,” this role represents his biggest and most dramatic challenge yet.
Ryan, on a career high with his “Feud: Bette and Joan” and “The People v. OJ Simpson,” picked a fine cast to join Darren: Edgar Ramirez (Versace), Penelope Cruz (Donatella Versace) and Ricky Martin (Antonio D’Amico, Versace’s longtime lover).
The FX miniseries, which continues to shoot, debuts in early 2018.
Excerpts from our interview:
Ryan Murphy said he always knew there was a great dramatic actor in you, and he wanted people to see that in this show. How scary or daunting is that for you? Actors are only as good as the parts they get to play. It’s a passive art form. People will hate me for saying that because obviously, when you’re doing it, it isn’t passive. But if I’m a musician, I can pick up my guitar and play it. If there was no one in this room, I can still play my guitar. I can proactively be a musician.
I always say the best actors in the world, we’ll probably never know about. We’ll never get to see that guy do “King Lear,” that woman do “Hedda Gabler.” You have to wait for those moments.
This is a moment for me, and I recognize that. I do feel like my ship came in for this one. “Glee” was a big hit before I was on it. I had a very objective relationship with it. I was in college when it was all over the place. So, to suddenly be thrust on it was a strange but very wonderful experience.
It brings me here for which I’m unfathomably grateful. But I studied acting. I treat acting like a real craft as much as you love to roll your eyes at that little word. But it’s true. There’s no sense of entitlement. But I worked hard. I believe in doing the necessary steps to get to a certain place.
So, to be finally be given this opportunity, I feel prepared. Whether or not it’s good is a whole other story. It could be horrible, crash and burn. But it’s like that—give me the ball, coach. And Ryan certainly gave me a good throw. So I’m very excited about that.
You were 10 when Versace was killed. At what point in your life did you know about him? I knew Versace was killed in front of his home. I’d been here before, the first time I went to Miami. I remember looking it up, seeing the steps. This is so eerie. I vaguely remembered that he was half-Filipino. If there’s any half-Filipino in the media, you tend to pay attention to it.
I had, through the fabulous world of “Glee,” met Donatella. I had been to Versace’s home in Milan. But, that was about as far as a connection that I had.
Can you talk about filming the crucial assassination scene? It was gruesome. Because we were not shooting this in a sound studio in Los Angeles. This is the house—and people walking around here were there for that. We couldn’t hide it. It was in broad daylight. So, to feel that energy of this very real event, it weighed heavily on me.
When I shot it, I was thrilled because Edgar wasn’t here for that. If I had to look in Edgar’s eyes and do something like that, that would have been tough, because it weighs on your conscience.
But, as an actor, when you’re doing something like that, I’m not thinking of my conscience. As far as I’m concerned, I’m the hero in this story. That’s how I have to play it. There’s a certain longing, loss, confusion, hurt and just a f**kload of pain that is coming into an act like that.
That’s what you have to channel. It helps that we’re in paradise because we do this really gruesome stuff, then I can go home and have a cocktail on the beach. It’s like, “All right, real life is OK.”
Can you clarify why you didn’t film that scene with Edgar around? Only because that had to do more with the technical aspects. It’s highly technical, but the biggest meat of the shot was of me making the decision [to kill Versace] and going up [to him]. It’s giving a little bit away. So now, you know about that shot. Sorry, Ryan.
How did you research on Andrew Cunanan? The series is mainly based on the book of Maureen Orth, who’s an extraordinary journalist and did mind-bending work and collection of data from friends, family and all records available.
What’s interesting about this particular case is, as famous as Versace is, there’s not a whole lot of stuff [about it]. There’s only one book, at least one that’s pretty serious. The others are trashy pulp novels.
There are three different versions of Andrew that I have to deal with. There’s the real version that none of us knew. There is the version that people did know, then there’s the version that we’re telling.
As an actor, I can contact the family members or friends, but they’re all going to have different answers of who he was. My job is to serve the script. As much as I want to stay true to who Cunanan was, we really don’t know what kind of person he was. We just have to humanize him as much as possible and hope for the best.
(Conclusion tomorrow)
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