Currently starring in an audio adaptation of Passenger 23 for Audible, Max Beesley is an extremely busy man, passionate about his craft and working on a variety of projects. We got the chance to put some questions to Max about the new audio drama, his other work commitments and more - find out what he had to say below.
What attracted you to do this project?
Audio is obviously a key element of my overall job, but focussing on it as an isolated performance is something I was keen to be involved with. I've listened to radio plays and audiobooks before, but the idea of doing this - a combination of both - interested me a lot. And of course, working with Sian Phillips and the lovely Rebecca Hall.
How would you describe what Passenger 23 is about? After 1 day, do you know enough?
It's an incredibly complex, multi-faceted drama. It's intriguing, with elements of darkness, whilst also creating the feel of an espionage. You have to be really on point listening to the story to make sure you hear all the wonderful twists - but by the end of it everything comes together to make sense.
Do you listen to thrillers? Watch Thrillers? Read Thrillers? Are you a thriller man?
I love thrillers across all mediums, but particularly within film and television.
Do you watch yourself?
I do watch myself, but not as much as I used to. I used to think it was purely from an objective viewpoint, in order to critique the work I was doing - but really it was probably part ego! I do enjoy watching something I have been a part of, but not so much to because of the finished product, more because of the process. For me, recording audiobooks, or filming television, or film, or whatever - it's the process of actually doing it that I love.
Have you worked with Rebecca Hall before?
I've never worked with Rebecca Hall before, no. But she's a wonderful lady - very lovely and I thoroughly enjoyed working with her.
Do you do audio work as fillers to your proper job?
I recorded a version of Sleepy Hollow a few years ago - it was a Paul Oakenfold adaption with his music playing throughout which was quite interesting - but this is the first major audio work I've been involved with. It has a wonderful cast and plenty of dialogue to get into.
As I said earlier, I really enjoy the process of performance and what's particularly interesting with audio drama is trying to convey the story through a medium that doesn't involve any physicality or eye contact. There's a different nuance you've got to tune into, and with that you have to be very careful that you don't overcompensate and it becomes too big, but similarly you have to maintain an engaging level of expression. It's been great being directed in this medium - it's more about the pauses and the beats than anything else.
This touches on your last answer, but being a screen actor, have you found it difficult to adjust to being behind the microphone and not being able to use your physicality.
I think the minute you get behind a microphone and the camera's not on, one tends to over gesticulate. With this, it's about getting that balance of being subtle, but knowing the audience can't see you - it's quite tricky, there is no doubt about it.
If you could pick any book to narrate, any story, what would it be? Even a book from your childhood?
20,000 Leagues Under the Sea or The Count of Monte Cristo.
I was actually reading 20,000 Leagues Under the Sea to my step-son and I said 'we'll get this done over the summer, before you go back to school' …but unfortunately we never finished it!
We've seen you introduced in the latest season of Homeland, What should we expect from your character?
Nobody knows. It's all very cloak and dagger - you don't even know if you're flying back out to Berlin!
How much time in advance do you know?
You probably get to see the scripts about 3 days in advance.
I actually haven't got a clue where the narrative is going - but that's one of the great things about it - the intrigue.
It was one of my favourite shows - I thought [Clare Danes] was phenomenal, and now I know she is having watched her work up 'close and personal'. For example, in the episode where she 'transitions' and comes off her meds - I think a lot of people would have struggled to portray that, but she's brilliant.
The show is a well-oiled machine; all the people involved in its production are at the top of their game. It's brilliant to be a part of.
What's the chemistry like on set? Is it well-oiled now after so many series?
Absolutely.
The whole team works together in an incredible way, from the executives, to actors, to crew.
For example the director of the episode where Clare comes off her meds was Lesli Glattar. She's just great - as an actor you get great notes and when you see her shooting, it's incredible. I think it was after the first day of filming, I went back and looked her up - she's kicked off so many great shows - Mad Men, Ray Donovan, and this [Homeland]. She's really incredible.
The writers are great too - Alex Gansa for example is true to everything. They're very dogmatic, that's what makes it so brilliant.
And also it's a great cast - Mandy [Patinkin] is wonderful, I love watching him, I think he's a phenomenal actor, as are F Murray Abraham and Rupert Friend - and of course Clare.
What else have you got coming up? Can you talk about anything?
I'm shooting Empire at the moment in Chicago, which is a completely different beast in itself from Homeland or Passenger 23, but equally brilliant and fun.
The marketing on that is phenomenal in the US.
Well in the US, I think the show started on 12 million viewers but then grew to something like 25-26 million. I think it's the biggest growth in a show in 35 years - it's insane how huge it is.
I'm involved through both music and acting which is great - I have some featured songs on there that I've co-written and co-produced with Terrence.
I live in Los Angeles, but I love coming here. We did Ordinary Lives for the BBC at the end of last year/ beginning of this year, and that was just brilliant. We were shooting in Manchester; pouring down with rain and freezing-cold on set - but there are such lovely crews here - British crews make the whole thing really enjoyable (and are also some of the best technicians in the world).
And then suddenly you're on set in Chicago with a band and dancers, and in that world of Empire.
Or you're on in Berlin for Homeland, on a mind blowing set. (The 'Libyan' set was built from scratch in the middle of Berlin - it's incredible.)
To be able to have that, those little nuances that occur in your life - whilst also being lucky enough to have a good stable family unit at home… Truthfully I love it.
Download the audio drama "Passenger 23" now at www.audible.co.uk/passenger