Mark Stewart 

In the old days, they would have a “triple threat.” Indeed, the two- time Tony winner can sing, he can dance and he can act. But these are not the old days, and the bar is much higher than it used to be in the performing arts—as Butz would be the first to tell you. On the stage and screen, he is both a portrayer and creator of characters large and small, with a well-earned reputation for knocking it out of the park. Now the longtime Maplewood resident has hit his stride as a composer and performer, releasing The Long Haul, a collection of honest, earthy songs written at different stops on a journey that has taken him to the Broadway stage (Rent, Dirty Rotten Scoundrels, Catch Me If You Can, My Fair Lady) and earned him roles on a pair of groundbreaking TV series (Bloodline on Netflix and Mercy Street on PBS). EDGE editor Mark Stewart was curious how the words and lyrics of The Long Haul fit into the tapestry of Butz’s career as an artist and entertainer. It turns out that those threads run deeper than even his most ardent fans might imagine.

EDGE: The Long Haul is your fourth album, but also in some respects your “first.”

NB: Yeah, it’s the first time I’ve put something out that’s all my original songs. The title says it all…it’s a long, long labor of love. You know, I’ve always written in my downtime— between acting gigs or if I’m on a set and waiting a long time, or when I’m out of town in hotel rooms. It was recorded mostly during the time I was finishing up Bloodline in the Florida Keys. I had a bunch of tunes and I sent them to my friend, Jason Loughlin—a great guitar player, producer, arranger in Williamsburg, Brooklyn— and said, “Hey, man. I think I might have an album here.” He really responded to the songs so we hired a band and got some studio time. It was kind of stop-and-start. I’d get a couple of things recorded, but then a job would take me away and I’d shelve it for a while. This past year I was really busy with My Fair Lady at Lincoln Center. It took over a year-and-a-half to record.

EDGE: Are you one of those guys who can just sit down and bang out a song?

NB: No, I’m not. I must have a thousand ideas for songs on my phone. Going back to college, I‘ve always written songs for my own pleasure. So starting them is easy, but the hard work of actually finishing them is much more difficult. I have friends who are real songwriters. They show up every day and work four to six hours on their songs. I never had that discipline or that kind of time.

EDGE: So why now?

NB: Getting the songs out was about moving past some of the really difficult moments for me during my 40s. It was a tough decade. I lost several family members. It felt good to release it.

EDGE: When I listen to the album I hear more than a little Dr. John. Some Al Green. And some Springsteen.

NB: That’s cool. I’m flattered. I think those are apt comparisons. I really do love Soul music and Blues and Gospel music. I was raised on a lot of that in St. Louis. There is a really rich tradition of Blues in that part of the country. My parents were deeply religious—my father, in particular, listened to a lot of Gospel—and we were in church constantly. So those are the sounds I grew up with and I suppose they’ve always stuck with me. It’s funny you should say Springsteen because now I live in New Jersey and I definitely credit him as a huge influence on me, going back to when I was a kid.

EDGE: I have to ask a Dirty Rotten Scoundrels question…Steve Martin had to fill a screen when he played Ruprecht but you had to fill an entire stage—with John Lithgow a few feet away—how do you rise to that challenge?

NB: No one can really rise to the challenge of John Lithgow. He’s like 6’5” [laughs] so rising to that challenge is like spitting in the wind. You know, in a lot of ways John played the straight main in Dirty Rotten Scoundrels. He gave me permission to take as much stage as I wanted to. It was a blast. John is one of the most generous, loving, creative, supportive partners anyone could hope for.  You know, I was really intimidated at first to be working with him. I was a was this enormous international celebrity. We’ve remained really dear friends and he has been a touchstone for me.

EDGE: How so?

NB: I go to him so much, just in terms of teaching me how to lead a cast with real grace, how to be super generous. His basic goodness. His workmanlike attitude. How to behave in front of a company. How to do this business over the long haul. How to build a diverse, multimedia career that I didn’t even know I aspired to before I met him. Now I know how valuable that is. He’s just the best. Even putting out this record, in some ways, was inspired by him. This idea that you don’t have to be just a performer, that you can make your own work during the in-between time when you’re waiting for directors and producers to tell you you’ve booked a job.

EDGE: A few years later you were Carl Hanratty, who lives somewhere at the other end of the spectrum from Ruprecht. What did you enjoy about that character?

NB: That was a really incredible experience. And I have to be honest, one that I did not see coming. It fell into my lap. Jack O’Brien, who also directed me in Dirty Rotten Scoundrels, sent me the script and said, “I think I’d like to see you do this. What do you think?” I had seen the Spielberg film in which Tom Hanks had played the role. I said, “I just don’t get it. I don’t get why you think of me for this part.”

EDGE: What made you see it his way?

NB: When I got the script I realized that Catch Me If You Can is really the story of a lost kid in search of a surrogate father, and this lonely, middle-aged gumshoe cop really looking for a surrogate son. My dad, who has since passed away, was really ill at the time. I was quite emotional thinking about him. I found the story really, really moving in a way that I didn’t expect to. It was very personal. Sometimes it’s not clear to audiences what draws an actor to something. For me, as an actor, that’s always the way in, the personal, emotional hook. It was a ball. It was a chance for me to do a real character part in a big Broadway musical.

EDGE: Hanratty was kind of a blank slate.

NB: He was. I got to really invent him. By the way, there was never a Carl Hanratty. He was based on several guys. They got the name from Tom Hanks.

EDGE: How did you hear this story?

NB: Tom sent me a note to the theater, typed on his famous vintage typewriter. It said Norbert, congratulations on Catch Me If You Can. He eventually came to see it and he said, “Let me tell you how the character came to be named Carl Hanratty.” He said on the first day of shooting they hadn’t named him because they couldn’t legally use the name of any of the FBI agents who were involved in the case. Spielberg turned to Tom and asked, “What are we going to name this guy?” Tom told me he named him Hanratty for a football player his dad loved at Notre Dame, and he named him Carl because it had the K sound in the name and that’s funny. And he’s right. Carl is a funny name.

EDGE: You’d mentioned My Fair Lady. You played Eliza’s father, Alfie Doolittle, a character that everyone has probably seen at least once or twice on some stage or in the movie. How do you bring something new to that role?

NB: No one believes me, but I was almost 50 years old when I got that part and I had never seen a production of My Fair Lady. And I never watched the film all the way through—only pieces of it when it came on cable late at night. I knew Pygmalion because I’d done a big course on George Bernard Shaw when I was in graduate school. Similarly to Catch Me If You Can, when the director asked me to do this part, I said, “What? I’m only 50. Why would I want to play this old drunken character?” But I went and read the script for really the first time as if it were a new piece, and thought This is a great part! Just that sardonic humor and the dichotomies within the character, and the great numbers. Also, it was truly a dream of mine to work on the big stage at Lincoln Center. When I came to New York the very first place I went as a young actor was to see Tom Stoppard’s Arcadia at the Vivian Beaumont, and I thought Man, to get on to that stage, you’ve really made it. I leaped at the opportunity and had the most wonderful time doing My Fair Lady.

Netflix

EDGE: Let’s switch to television for a moment. The characters you played on Bloodline and Mercy Street were absolutely spot-on. Everyone knows someone like Kevin Rayburn, who just can’t seem to get out of his own way, and you were beyond believable in that part. Did you base your portrayal on people you’ve come across in life?

NB: The show was about a family that literally is trying to keep its head above water, and as an actor sometimes that’s what it felt like. It was really potent when it worked. I would like to say that I based Kevin on someone—or even had time to prepare. But the fact is that in Bloodline—which was produced by a trio of writer/creators, Glenn and Todd Kessler and Dan Zellman, who also did Damages, starring Glen Close— they famously withheld information from the actors.

EDGE: So you’re not getting a script until a day or two before?

NB: Right, and often they shot alternative versions of scenes! They were largely putting the editing together while they’re making it. As an actor, it was a real lesson in not knowing what was coming next. Also, they would shoot scenes out of order and the show’s narrative kept going back and forth in time, so I couldn’t get a handle on, like, I know where this is going, so I could make choices. Each night we’d get scripts to shoot the next day and I’m like, I don’t know how I end up here. Yesterday, I was shooting this scene where Kevin seems like a pretty good guy and today I’m shooting a scene where I’m in my underwear doing cocaine with a gun in my hand [laughs]—and they don’t necessarily tell you how you got there. It was really challenging, but it became a fun experiment in letting go into what you don’t know and treating each scene like it’s own little mini-movie with its own beginning, middle, and end. So if it looked like Kevin didn’t know what he was doing, that’s me. It was not an easy shoot. The stakes were so high and the material was so dark. But I loved it. We were down in that incredible locale in the Keys and it infected everything we did. There was no make-up— that’s really real sweat, that’s really real sunburn, my hair was really bleached out and those are real mosquitoes eating us up in the shots. It was like nothing I’d ever done before.

EDGE: I have a similar question about the character you played on the PBS series Mercy Street, Dr. Hale. Everyone has bumped up against someone like that guy, who has reached the limit of his talents and is threatened by people with new skills and new ideas, and who kind of embraces bureaucracy in the face of change—

NB: Which made the part so much fun to play! Yeah, that guy did not know his head from his rear end.

EDGE: Who were you thinking about when you played him?

NB: He was so pompous, so full of himself and thin-skinned and easily threatened. He reminded me so much of Frank Burns on  M*A*S*H*. I loved that show and actually thought a lot about Frank. You’re right. He wants things to stay the same. He’s dying to be an administrator behind a desk. I thought what was interesting about the character was that here he is, in the middle of the Civil War, but still looking for creature comforts and vices— sex and booze—to help mitigate the reality of the war. That felt really human to me. Imagine the carnage during the Civil War, before morphine is being used regularly in surgeries—just the violence—it must have been so incredibly difficult to process. It doesn’t surprise me that these doctors tried to find pleasure wherever they could.

EDGE: You’ve lived in New Jersey going on 20 years. What drew you to the state initially and in what ways has it grown on you?

NB: I came kicking and screaming, I’ll be totally honest. My first two girls were born in Brooklyn and we really wanted to stay there. We lived in Park Slope. We needed more room and I thought I’d be able to find a brownstone somewhere, but this was right when the housing bubble was starting to get really whacky and I just couldn’t afford a bigger space. My wife and I had friends who’d moved to Millburn and we were out visiting them and we looked around there. We liked what we saw, the schools were good, it was doable. So we moved to Millburn. Still, I didn’t really want to come. I like Springsteen as much as the next guy…but it was Jersey, you know?

EDGE: I am a transplant, too. When I left New York City in the 80s my friends acted like I’d been shot out of a cannon.

NB: Yeah [laughs] when you leave New York your family stops talking to you. No one comes to visit. But then something really remarkable happened. It took me a few years, but I’m the biggest fan now of where I live. I’m such a huge Jersey fan.

EDGE: What I like about New Jersey is that there are 500-plus towns and each is completely self-contained, so even though everyone you know is from “here,” somehow almost everyone is also from “somewhere else.”

NB: I do, too, man. You’re so right about that. We lived in Millburn for a couple of years and moved to Maplewood after that. I can walk to Millburn from where I live. But the character between the two towns is wildly different. I just find that super-interesting. I love Maplewood, Millburn, South Orange—now my third daughter is going through the school district. I love it. It’s such a tight community. It’s progressive, inclusive, beautiful. And as a point of departure, it’s fantastic. It’s close to the city, I’m eight miles from Newark Airport, I can be in the Poconos in an hour, we can be on the beach, or points north in the Hudson Valley, in 45 minutes. It’s a gorgeous state, filled with tons of farms, great rivers, places to camp and hike. I’ve just fallen in love with it. 

You started in movies really late. Do you think it was good in a way for you?

Absolutely. I was 20 years on the stage in New York prior to getting the movie career, as such, though I did do television work, I did some movies. I think the training—both in the profession and in life—was to my benefit. When I was working in the ‘70s and ‘80s, the drug culture was booming and a lot of people didn’t make it through it. I was very peripatetic when I was young, back-and-forth cross-country, to New York to Los Angeles to San Francisco, trying to find the doorway, where to be able to get in. It’s just being in the right place at the right time.

Which is better, to be the President, to be God, or to be a movie star?

Movie star.

Why?

It pays. None of the rest of them pays. Not nearly as well.

What are the cons of being a movie star?

Well, first, it’s what I wanted from a very young age, I wanted to be in the movies. But as you start to watch your career go on, you realize that you didn’t want to be “star.” If you are a character actor, you don’t want to be a star, because you can’t be a character. A star very rarely gets roles like Quasimodo. Bob De Niro could walk down the streets unrecognized after he had done Bang the Drum Slowly, Godfather II and Raging Bull. He had done all these well-received movies, but he could walk down the street unrecognized. That’s character acting, when you hide, when you become the character, that’s the essential difference to me.

When you were a kid, did you ever dream about being the President?

No, I only dreamed about being an actor. When I was a kid, I went to the movies every day I could find enough money. President? CEO of something? No. Later on, I thought it might have been interesting to have been a racecar driver.

Is that on your bucket list?

I’ve done it!

Is there anything left on your bucket list?

I wanted to be a jet pilot. I wanted to be a sailor, a water sailor. I wanted to be a cowboy—I’m a good horseman, I love horses and live with them. And the rest of it is just to be here, to enjoy life.

When you play the President, do you take pleasure in it?

The pleasure is in working. Believing that you are the President or God or the devil or whatever, the only joy in that is bringing the character to life. I don’t get any personal sense of the power of God or the power of the President. Make believe is make believe. I hate for people to somehow gloss over that and say, “Oh my God! God just walked in the room!” Don’t do that. 

Editor’s Note: Morgan Freeman played the President in his most recent film, Angel Has Fallen, co-starring with Gerard Butler. He is due to star in four films in 2020, including the action comedy The Hitman’s Wife’s Bodyguard, with Ryan Reynolds, Salma Hayek and Samuel L. Jackson.

This Q&A was conducted by Sarah Williams of The Interview People.

At only 10 years old, Alexa Swinton has become the talk of the 2019–20 TV season.  You’ve seen her in Showtime’s Billions and on The Tonight Show and Saturday Night Live, but she has earned her first starring role in the ABC sci-fi drama Emergence. Alexa more than holds her own with screen veterans Allison (Fargo) Tolman, Clarence (Shawshank Redemption) Brown and Donald (Scrubs) Faison. A longtime (relatively speaking) New Jersey resident, she shot the first season of Emergence right here in the Garden State. Veteran EDGE interviewer Gerry Strauss found her to be full of surprises.

Photographer: Emily Assiran • Hair & Make-up: Evy Drew • Stylist: Jenn Rosado

EDGE: Is this the first you’ve heard of Edge Magazine?

AS: It’s really funny because I’m actually in love with this magazine. I’ve been going to this place called Karma Organics Spa in Ridgewood since I  can remember. They have Edge Magazine there, so that’s what I’ve grown up reading.

EDGE: When you first started preparing for your role in Emergence, how did they describe the character of Piper to you?

AS: Oh, wow. They described Piper as this mysterious girl who’s sweet and doesn’t remember anything about herself. I was very intrigued by just that.

EDGE: You handle this role impressively. Do you think you would have been comfortable working on a show this terrifying a year or two ago?

AS: I feel like I could’ve definitely handled it because I would’ve worked just as hard. It would’ve been a tiny bit harder for me, but obviously I would’ve still enjoyed it and still worked on it.

ABC Studios; Swinton with co-star Allison Tomlin

EDGE: Before you started working on the show, did you know anything about co-star Allison Tolman?

AS: I’d heard of Good Girls actually, because my class watched it, and they were like, “Oh my God! Isn’t that the person who played that evil character on it?” And I was like, “I don’t know.” Then I realized that it was, and I was like “Oh God, you guys talk about her all the time.”

EDGE: Has she given you any advice, or helped you? Are you friendly behind the scenes?

AS: Yes,  it’s a close family, it’s a really great set family. I feel like we really lucked out, because some sets don’t love each other the way I feel like our relationship is. Allison always says be nice to the crew, because you are one of them and they are one of you. She’s just the best and nicest person you’ll ever meet.

EDGE: Who would you say is the funniest person that you have acted with so far?

AS: My mom! She’s an actress, writer and stand-up comedian and we are collaborating now on a film based on her immigration at age 9 from the Soviet Union to New Jersey in the 80’s. I play my mom. We are also working on a book series about a fourth-grader named Skylie—based on me and my siblings and friends—who lives in New Jersey. So all New Jersey-focused projects.

EDGE: What about on Emergence? In this family that you work with, who’s the comedian there?

AS: I think that they’re all really funny, I feel like role- wise though, I think that Clancy Brown takes it, only because his role has been the funniest. But I feel Donald Faison comes in second for Murray on Clueless, and Turk on Scrubs. And then, Allison comes third because I’ve not watched Downward Dog, the only comedy she’s done that I’ve heard of.

Photographer: Emily Assiran • Hair & Make-up: Evy Drew • Stylist: Jenn Rosado

EDGE: If you could do a voice for a character on TV, which show would you like to be on?

AS: SpongeBob. If there’s ever a recreation of it, I’d definitely love to be a SpongeBob character. I feel like Sandy would definitely be number one on my list. I would also love to be in The Good Place. It’s the best show ever. It’s really funny, and I just think that I’d love to be on there.

EDGE: Do you have any actors who you hope you will get to meet and work with someday?

AS: I definitely really want to work with the whole cast of Friends. They’re really just amazing people, and I feel like they really have done so much work that I really feel is great. But I’d also love to work with Jerry Seinfeld. He’s really funny.

EDGE: What’s the best movie that you’ve seen in the last year or so?

AS: Ready Player One. It was the best movie ever I think because it really shows the way that the world could be, everyone addicted to this one thing.

EDGE: What are some of your favorite things to do when you aren’t working?

AS: I love the malls, especially Garden State Plaza, which is like a whole city. We love the movie theater and the shoes at Nordstrom during their sale. I also love bicycling in the bike path along Saddle River Park, from Paramus to Glen Rock to Ridgewood.

EDGE: Are you more of a New Yorker or a Jersey Girl?

AS: I was born in New York and do have a special love for it, as well. I mean I have been auditioning in the city since I was three, and I have many favorite places and neighborhoods there. But I am proudly a Jersey Girl! 

EDGE Editor’s Note: Emergence scored a 93 among TV critics on the Rotten Tomatoes web site, with reviewers noting parallels with Stranger Things and Lost, and Alexa’s performance in a difficult role drawing comparisons to Millie Bobby Brown.

Hollywood defines the power couple in many different ways. Nicole Ari Parker and Boris Kodjoe are busy redefining it. Busy is the operative word here. Both are starring in network TV series—Boris on ABC’s Station 19 and Nicole on the FOX mega-hit Empire—and raising two young children, one of whom was born with spina bifida. Boris and Nicole met on the  Showtime series Soul Food and their partnership has blossomed along with their respective careers. As Gerry Strauss discovered, they have carried their rooted principles with them through marriage, parenthood and personal projects that are designed to spread love and awareness out into the world, including a family fitness app (see page 40) and the Full Circle Festival—an event hosted by Boris that honors and celebrates their ancestry, heritage, and generational legacy. Their family life is filled with ups, downs and the desire to find joy in all of it together.

EDGE: Boris, when you were a rising star in tennis at Virginia Commonwealth, were you already thinking about a career beyond the sport?

BK: No. While I was playing, I was completely committed to tennis, and that was my ambition, my dream, my purpose, everything. When that was cut short [due to injury], I came to the states to study and take my mind off of tennis for a little bit, and it progressed into getting my degree, and then moving to New York and being discovered for modeling. While I was modeling, I took acting classes to see if I could improve my English, because I had an accent. Throughout that process, being in acting class is when I fell in love with the craft.

EDGE: Nicole, when did you discover your passion for performing?

NP: I came at this fully open arms twirling, loving the theater, fully committed to being an actress from the very beginning. I graduated at 17 from a high school in Baltimore, and got into NYU early. Second semester, I switched over to the NYU Tisch School of the Arts. I was a Journalism and English major, and I called home, and I asked my dad if I could go to Tisch. NYU was really expensive, and he said, “You just have to promise me that when you get knocked down, you’ll get back up and I’ll support you. Don’t give up and I’ll support you, because it’s going to be a tough road.” I did it and I switched over to the full theater program, and stayed in New York for 13 years. I got my big TV break with Soul Food in 2000.

EDGE: You both had busy, thriving careers before getting married and starting your family. As your lives together have evolved, how has that changed the way you prioritize your career compared to other parts of your life?

BK: I think you just answered the question (laughs).

NP: Soul Food was my big break, and it was kind of his, as well. We’re in this wonderful new exciting moment in our careers coming at it from different places, and our friendship developed, and then our relationship developed, and then we got married and then we had kids. We progressed together. We actually do well working together—the beginning of our relationship was learning how to be together  14 hours a day. We really knew how to be around each other for long periods of time, and we had a nice rhythm in terms of managing our creative time, our personal time, our professional time.

EDGE: And kids…

NP: Kids change everything. For anybody. No matter what you’re doing, no matter what business you’re in, kids change everything. You have to come together and be on the same page about how you want to do this: Do you want them to be the priority? Do you want them to be part of our plan? We just agreed to make them the priority and everything wonderfully fell into place. We didn’t sleep the first year, like any parent, and we still worry like any parent. But we really work together. The one thing we agree on is how we want to raise the kids.

BK: We learned together how to make our children our priority, and that made everything else fall into place automatically.

EDGE: The theme of this issue is Teachable Moments. How tuned in are you to that aspect of parenting?

BK: I think there are teachable moments every single day. There’s teachable moments in terms of taking in your kids and balancing structure and trust. I think there’s teachable moments in our relationship, how we relate to each other, communicate, take each other in.

I’ve certainly learned a lot about my behavior and how it comes across because sometimes we think we’re communicating effectively, but your partner lets you know that it might not be as effective as you think. There’s learning each other’s dance steps, and it’s literally every single day that you learn something new and that you have a teachable moment. I think the key is to give each other the space and the freedom to learn, as well as to teach. A lot of people are shut off from learning new things or being open to receiving input, and I think as long as you’re open and willing to learn—to make mistakes and give each other that privilege, as well—it’s a good thing.

NP: There are opportunities every day, but there are a lot of things that are different about the way my kids are growing up than the way that I grew up. I am very conscious of some of the values that I want my kids to have, even with all of the access that they have, and the travel, and the exposure. We both are very conscious of them still having life skills. As Boris said, those present themselves all the time—like conflicts with people, taking care of your responsibilities, time management. Really, we don’t let that stuff fly because you can’t. Your kids are being saturated with so much stuff 24 hours a day that we really check-in and make sure they have, like, basic self-awareness, and know how to take care of themselves and how to take care of their responsibilities, things like making their beds and folding their clothes—Sophie even knows how to cook. I just think that there’s something wonderful inside of those things that every kid should have, just to survive and feel good about themselves when

they’re out in the world and not with you anymore. In terms of each other, it’s just hard traveling so much and working so much that we, again, both agree that we have to check-in and make sure we’re still having fun, and that we’re not just roommates and business partners.

BK: Part of teachable moments when you’re talking about our kids is exposing them to different cultures. With the Full Circle Festival, we have made it our goal to invite people to experience Ghana’s vibrant culture and connect with their ancestry because this happens to be the Year of Return 2019, which commemorates 400 years since the beginning of the slave trade. Taking our kids there along with other friends and family was a really important way for us to expose our children to history, to culture, to their ancestry, and doing it in a celebratory way.

EDGE: How do you explain your celebrity status to your kids?

NP: One time, I was doing a play in New York during the summer, and we put them in a camp. It was a camp at the Y, and as soon as we walked in, not even realizing we dropped them off, all the kids were like, “Oh, my God!” They knew Boris from the Resident Evil movies, and they were very excited. Our kids hadn’t really experienced that before. We were, like, “Uh-oh. Teachable moment. Too late!” [laughs]. Sophie and Nicolas were just frozen. We talked to the counselors and everybody calmed down and they had their day. I asked Sophie later, “How did it go at camp?” She said, “Well, I told them that my parents were just regular people like their parents and what they do is just a job, just their work.” She had this kind of understanding for herself that kept her calm, and so it just calmed everyone around her. She’s like, “It’s just the job they do. Just their job.” I felt like that was the age-appropriate understanding. Then, as they get older and become self-aware and they’re in the photographs now, we just make sure they’re okay. Just make sure that they’re not being overexposed and self-conscious. I think we’ve worked on that in a way that they know when they’ve had enough. They don’t need to be on the red carpet. They’ll go ahead of us. They’ll run and see their friends if they go to an event. They don’t need to be in it.

BK: When they were smaller, we were driving downtown and there was this huge, gigantic advertising for one of my shows, and Nicolas screamed and said, “Daddy, daddy, look. They got your picture. How did they get your picture?” Then, Sophie, who was at the time maybe four, leaned over to him and said, “You’re so silly, Nicolas. Mommy gave it to them!” It was all very, very innocent. They had no clue. Then, as time went on, they really were educated more from their friends, because we really kept them sheltered in our community in Manhattan Beach. It’s very family- oriented, very protected. After a while, they figured it out on their own by themselves.

EDGE: What advice would you guys give to parents who are at the onset of facing their own medical challenges with their kids?

BK: The first thing I would say is that you’re not alone. I think that’s the lifesaver. It was for us when we realized that there’s a whole world out there, there’s a whole community out there of parents who were dealing with similar things. That really encourages you to do your research, and to talk to as many people as you can, and to get input and advice. Then, I would encourage them to know that they are the parents of their child, so they know their child better than anybody else—get multiple opinions, always trust their parental instincts and their connection with the child that they have. Children will teach you what they need.

EDGE: Let’s talk about your professional lives a bit. Boris, Station 19 is following an impressive blueprint for success. It’s a spinoff of Grey’s Anatomy and is being produced by Shonda Rhimes.

BK: I’ve been a fan of Shonda Rhimes since the beginning. She’s a trailblazer who has changed the way we watch television. I’ve always wanted to be a part of “Shondaland.” Station 19 wasn’t established. They had just finished the first season, and I guess they were still looking for their place, for their rhythm. It was a good moment for me to join the cast and help them find their path, if you will. I’m excited about it because it’s a great show with a great cast, and I don’t think we’ve even scratched the surface yet in terms of the stories that we want to tell. I’m always an advocate for going deeper, telling multi-dimensional stories and for heightening the stakes, and we have a great opportunity now in this third season to do that.

EDGE: Nicole, you’ve become a major player on Empire, a show that was already a ratings monster. How did you feel about jumping onboard that speeding train?

NP: It was a joy because I have known Terrence Howard for so long, and I was so excited to work with Taraji Henson and Gabby Sidibe and everyone. I just jumped in and I felt like a new girl the first season entering into a family, and then it just took off from there. They made me feel like I was part of the family and it was a really great feeling. It’s tough. It’s a one-hour show. It’s a drama, it’s fast-paced. It’s a big cast. It’s in a different city, but somehow it has this joyous ride, a crazy ride. It’s been good.

EDGE: With both of you starring in full-season network shows, have your respective shooting and media schedules created even more of a juggling act when balancing family life?

BK: I think it’s always a juggling act when you’re talking about being on two network shows, because of the time commitments it requires. Also, Empire films in Chicago, so that comes with its own challenges in terms of traveling back and forth. It’s certainly a blessing, but there’s always a trade-off. I wouldn’t call it a juggling act or balancing. It’s really setting your priorities and not only making sure that the kids don’t pay the price, but that we don’t—because we have to look at each other and say, “Look, we were here first. We have to make sure that we have everything we need from each other.” Which is very important. If that means that we meet in Mexico for two days or if that means that I’m flying to Chicago for a day or three days or whatever that means, we have to be honest and we have to be committed to that.

There’s an App for That

EDGE: Boris, your commitment to fitness has produced KoFit. How did this app concept evolve?

BK: Health and fitness has been a part of my life and my brother’s since we were kids. We’re both athletes. He played professional basketball. The fact is that we are regressing as a society in terms of our health, which is obviously public knowledge. I don’t have to bore you with the stats, but we found that a lot of people complained that the plethora of workouts, fitness advice and nutritional information that’s out there is just super-confusing. It ends up being clutter that’s intimidating for people. It renders them paralyzed. Patrick (right) and I wanted to simplify all things fitness and nutrition. He is a certified nutritionist. He’s a personal trainer and a life coach, and so we came up with the KoFit app as a way for people to start where they are at. They don’t need equipment, they don’t need a gym, they don’t need an advanced degree to understand nutrition. All they need is a space in their house and they can start with as little as five minutes. None of our workouts are longer than 20 minutes. My brother gives great simple tips on food. We run people through mindfulness exercises like meditations and yoga exercises. Patrick’s wife is a certified yoga teacher. We want the whole family involved—we’ve got our kids on the app to communicate the simplicity and how easy it is to introduce some positive habits into your life and make health and fitness part of your lifestyle.

EDGE: KoFit is offering 30-day memberships for free to anyone who signs up. Why was that important to you?

BK: This is building the community. KoFit is a family, and we want to invite families across the world to take part in this movement—to find a way to be healthier, happier and stronger. This is just part of us wanting to invite people to join the family.

The Boris File

Boris Frederic Cecil Tay-Natey Ofuatey-Kodjoe

Born: March 8, 1973 • Vienna, Austria

Boris is the son of a German psychologist and Ghanaian physician, who named him after Russian poet Boris Pasternak. He is fluent in three languages. Groomed to be a pro tennis player, Boris starred for the Virginia Commonwealth University tennis team; his brother Patrick played basketball for VCU. A back injury cut short his career, at which point he pivoted to modeling and acting. His film credits include roles in Love & Basketball, Madea’s Family Reunion, Surrogates, two installments of the Resident Evil franchise, Baggage Claim and the upcoming Nicole & O.J. (scheduled for release in 2020). In addition to Soul Food and Station 19, Boris has appeared in a number of television series, including Boston Public, Second Time Around, Undercovers, Real Husbands of Hollywood (with Nicole), The Last Man on Earth, House of Cards and Grey’s Anatomy.

The Nicole File

Nicole Ari Parker

Born: October 7, 1970 • Baltimore, Maryland

Nicole is the only child of a dentist and healthcare professional. While attending an all-girls prep school she was named Best Actress in a statewide theater competition and went on to join the Washington Ballet Company. She earned a degree in acting from NYU in 1993. In her 20s, Nicole made memorable appearances in a string of critically acclaimed independent films, including The Adventures of Sebastian Cole, 200 Cigarettes and Boogie Nights, which earned her a SAG Award nomination. Her breakthrough TV role came in 2000 on the Showtime series Soul Food. She also earned rave reviews in Remember the Titans and Brown Sugar.

Nicole’s other film credits include Imagine That with Eddie Murphy

and two Martin Lawrence comedies, Blue Streak and Welcome Home Roscoe Jenkins. Among her TV credits are CSI, All of Us, The Deep End, Revolution, Murder In the First, Time After Time, Rosewood and The Romanoffs. Earlier this year, Nicole squared off with Boris on an unforgettable episode of Lip Sync Battle.

Family is complicated. Mental illness within a family complicates matters exponentially. No one knows this better than actor-author- activist Mariel Hemingway. The granddaughter of Ernest Hemingway and sister of Margaux Hemingway —both of whom took their own lives—she is intimately familiar with the dark places that few of us are willing to go. In Mariel’s search for answers and quest for balance, she has developed a unique point of view—which she shares through her books and speaking engagements. With the release of the documentary Running from Crazy, she told her family’s complex story of mental illness, substance abuse and suicide and became part of a long-overdue national conversation. On October 29, Mariel Hemingway will join Jack Ford on stage at the Park Savoy in Florham Park for Out Came the Sun: Overcoming the Legacy of Mental Illness, Addiction, and Suicide, presented by the Trinitas Health Foundation. Proceeds from the evening will benefit the Peace of Mind Campaign, a $4 million initiative to renovate the hospital’s Department of Behavioral Health and Psychiatry.

EDGE editor Mark Stewart intruded upon her summer sojourn in the mountains of Idaho to chat about her family, her passion and her career.

EDGE: I’m curious about the documentary Running from Crazy. It was extraordinary. How does something like that even get made?

MH: It started when one of my best friends, Lisa Erspamer, who worked with Oprah Winfrey at the time she was leaving her talk show and they were starting OWN. She said to me, “You’ve got to tell your story.” I asked her, “Ummm…why would I do that? My family’s crazy.” Lisa said, “That’s the point! That’s why you have to tell your story!” We started shooting it in 2011 and it was released in 2013, with a premiere at Sundance.

EDGE: Have appearances like the upcoming Trinitas event with Jack Ford become a significant part of your schedule?

MH: Yes, actually. I’ve been doing speaking engagements all over the country now, gosh, for about nine years. You know, I never thought that was going to be my thing, telling the story of my family and revealing the darkness that haunted my siblings and my grandfather, all the addiction in my family. But I realized after doing the movie and speaking a few times, how important it is for others to feel as though they can tell their stories. I really believe that telling your story is a step in recovery and healing. So it’s been really wonderful. I’ve written two books since then. One of about their lives. We all experience some form of mental instability at some point in our lives, whether or not we have mental illness or are dealing with some kind of a loss. Also, in this very highly technical age that we live in, we are all getting more and more disconnected from ourselves and other humans. It’s really important to share your story, to let people know we are all the same.

EDGE: What do you want to get across when you talk to people suffering with mental illness, or to people dealing with a loved one who is struggling with it?

MH: There are ways of making your quality of life—and that of the people around you—much better. One of the things I want to get out there is I want people to realize that everything they do in their lives matters, especially when you have a mental health issue. What are you eating? Are you drinking enough water? Are you consuming alcohol? Are you not sleeping enough? Are you exercising? I’m not a doctor, but all these different things affect the brain, especially if you have a sensitive brain. My feeling is let’s do as much as we can as individuals to make our lives better, and to make the lives of those suffering better. I know you know this because you’ve got someone in your family—it can be very difficult to get them to see it, to acknowledge it, to take responsibility for it…but it can be done.

EDGE: It’s hard work.

MH: It is. It is hard work. But you know what? In my opinion, life is hard work. However, the benefits of taking care of yourself so outweigh the negatives. Okay maybe you have to do a little bit more, but we all have to take care of ourselves better. There is so much we all have to do to take care of our brains.

EDGE: What has impressed you about the way people are approaching issues of mental health?

MH: The more I’m in the space, the more I see people doing extraordinary things. There is a doctor in Dade County, Florida who wants to turn the whole system around because he doesn’t see why people suffering from mental illness should be incarcerated. Mental illness is it own specific thing, yet it has numerous facets. Take addiction. Addiction is a huge problem in this country, whether it’s alcoholism or opiate addiction. We are inundated with so many mental health disorders that need to be addressed differently, but first we need to pay attention to them. We can make a difference the more we speak about it.

EDGE: Do you feel awareness of mental health issues has improved significantly in the past decade?

MH: It’s getting better. We’re not there yet. But when you see Lady Gaga and other celebrities talking about mental health—people with that kind of fan base and following— that makes a difference. Sadly, that’s what it takes. But it is a good thing if it makes people embrace it and say, “Hey, we’ve got to pay attention to this.”

EDGE: Let’s switch gears and talk about your career. Since you can now find everything ever made somewhere on the Internet, which of your films or TV shows should your fans go back and re-watch?
MH: The film and television I did…it’s interesting. It was always the right thing I needed in my life at that time, so it was the best thing I was doing. There was one film that was super-fun, an independent film called The Sex Monster. It had a terrible title—it sounded life soft-core porn [laughs] but it wasn’t. It was really funny. You know, I watched Personal Best this year for the first time since it came out in 1982. It holds up. It is such a good film, kind of ahead of its time. I don’t know. I think more about the people I worked with and how much I loved them. People like John Candy in Delirious or Peter O’Toole in Creator. These were movies that didn’t do that well, but they were so fun to make.

EDGE: I liked the Steven Bochco series in the early 90s, Civil Wars.

MH: I loved making that show! I was actually thinking that [laughs] but I thought maybe you didn’t know what it was!

EDGE: That was a good, tight show with an extraordinary cast.

MH: I know. Debi Mazar, Alan Rosenberg, Peter Onorati, David Marciano (above). They all went on to do lots of great stuff. Bochco was always interesting and [producer] Billy Finkelstein was a good guy, too. I learned so much about acting and discipline making that show.

EDGE: Who else made the light bulb go on for you? Who helped you take things to the next level?

MH: I learned a lot from working with Woody [Allen]. Not that he said a lot, but it was an interesting set to be on. I probably learned the most about digging deep into your soul for a performance from Bob Fosse (left). Star 80 was a difficult movie to make but he was an incredible director. Because he was from Broadway and was a choreographer, he had an interesting way of going about things. The way he rehearsed and rehearsed as though it was a play. You just don’t get that opportunity anymore.

EDGE: You’ve got a number of projects going on heading into 2020.

MH: I do. I’m producing [Ernest Hemingway’s] A Moveable Feast into a short- form series. I’m not going to be in it because I’m too old now [laughs] but I’m very excited to be creating my own stuff now, and that’s what I’m doing moving into the future.

EDGE: Is it stressful keeping so many balls in the air at once, or is that kind of your comfort zone?

MH: I guess I’m that person who, if you give me too much to do, I’ll get it done. And if you don’t give me enough I sit there wondering what to do. It’s not too much yet. I really enjoy it. I’m good about keeping a balance to my life. It’s taken me a lot of years to figure it out, but I think I’ve finally done it.

If you are someone who believes the apple doesn’t fall far from the tree, then Ever Carradine is your kind of actor. The third generation of accomplished performers in the Carradine line (you know her grandfather, John, her uncles Keith and David, and her father, Robert), Ever is the latest success story in the family business. She is currently a cast member in two hit series on HULU—Marvel’s Runaways and The Handmaid’s Tale—and has turned in memorable performances in numerous films and TV shows. Along the way, Ever has won critical acclaim, as well as the admiration of her peers for the authenticity and creativity she brings to her characters. She’s a true professional, in every sense of the word. Mark Stewart caught up with Ever prior to the Season Three premiere of The Handmaid’s Tale.

EDGE: The theme of this issue is “fish out of water.” It strikes me that, given your family’s history in the business, you might never have felt that way as an actor.

EC: I haven’t. Where I find myself most comfortable, having grown up on film sets, is being in that environment. The transition to making that place my working environment—and not just my family’s—was very easy. That’s kind of half the battle: showing up at the set knowing what everybody’s job is, understanding the workings of a crew…it’s very helpful in doing good work, because then you’re not distracted by trying to catch up with what the heck is going on [laughs]. As far as performing in front of an audience, I don’t know that any actor will ever tell you that they’re totally comfortable with that. I still struggle with public speaking, but I’m very comfortable on a film set. I love it so much. It’s one of my favorite places to be.

EDGE: Have you done much stage work?

EC: My last play was in college. I graduated and then hit the ground running in Los Angeles. I started working in film and television. There have been a couple of opportunities where I’d almost done a play, but the timing wasn’t right or I couldn’t move myself from Los Angeles to New York in a way that financially made sense for me. But it was in college I had a little bit of a lightbulb moment. I was doing a play and thought, “Hey, if I could do this and make a living at it, I would be one of those lucky people who loves going to work every day.”

EDGE: And are you?

EC: As far as kicking my feet up and thinking, “Wow, I really am successful and making a living at this”…I’m an actor, and actors are always concerned about what the next job is going to be, what’s going to happen when one thing ends and who will hire me…that never really goes away. The past couple of years, I find myself on two shows that not only do I love, but I’m proud of the work we’re doing and proud of the stories we’re telling. And they happen to be on opposite schedules, so I shoot Marvel’s Runaways (right) half the year and The Handmaid’s Tale the other half of the year. So I just feel gratitude and am pinching myself because I can’t believe I get to be on these two shows at the same time.

EDGE: I couldn’t help noticing that, in school, you majored in Anthropology. My daughter did, too, and found it to be very helpful in her professional life, which has absolutely nothing to do with anthropology.

EC: Initially, my major was Sociology/Anthropology. And, as your daughter knows, you’re digging deeper into other people’s culture. That is a great starting-off point for fleshing out any character as an actor, to take yourself out of your own shoes and delve into somebody’s else’s reality.

EDGE: Getting into the business with the Carradine family name, was it easier for you or did that set the bar higher?

EC: When I started my career I just wanted to work. I wanted my own experiences on film sets. Coming out of college we all take ourselves pretty seriously, so when I started I saw myself doing dramatic work. But right away I started booking comedies, and it was really confusing me. But I sort of just took the ride. I did a lot of comedies for a lot of years, and then I booked a big drama and that turned things back for me toward the dramatic. Now I feel very comfortable in both worlds.

EDGE: What advice did your family offer?

EC: The advice my family—and all of their friends—have always given me is Save your money. When I was young I was, like, Yeah, whatever. Then as I got older I realized that the reason you save your money is that, in leaner times, you are still able to be in control of your choices. You don’t have to take a job you don’t necessarily want because you need the paycheck. Everyone in my parents’ generation has told me that. Save your money. Save your money. Save your money. Also, my uncle, David Carradine, used to tell me that the only ones who didn’t make it were the ones who quit. So after some dark auditions, some sad auditions, I would always remind myself of that.

EDGE: How did you land the role of Naomi on The Handmaid’s Tale?

EC: I had done a pilot with Bruce Miller, the series creator, and Jenji Kohan and Gus Van Sant, in 2015. It was one of these special pilots that I was certain would be a go, and that we would be on the air forever and ever. And then the pilot didn’t get picked up. But I had an incredible working relationship with Bruce and his wife, Tracy. About a year later, I got the script for The Handmaid’s Tale. I read it and I was floored…and was desperate to be in it. Initially, I read for the role of Rita, the Martha to the Waterfords—and thought I did a great job. Then I didn’t get it. I was heartbroken. I sort of put it out of my head. Months later, I got a call: There’s another role in The Handmaid’s Tale and would I go in and read? It was Naomi. I went in and read. After a long wait—for actors, a long wait is more than ten days—I was told I got it and I was on a plane to Toronto the next day. One of the things I love about that show is that everyone reads for every role, the old-fashioned way. Generally, they don’t offer things—they like to hear the people and look at them say the lines.

EDGE: Is Naomi a bad person?

EC: I don’t think so. Something that is coming up for me more and more, in Season Two and definitely in Season Three, is that these people are all in a misery of their own making. Nobody is really happy in Gilead, but they all created this and now they’re stuck there and have to work with what they have. I am so desperate for the Naomi flashback episode, which sadly does not happen in Season Three but fingers-crossed will happen in Season Four. I would love to get a little glimpse of who she was, pre-Gilead. She is a bit of a busybody and has to get into everything. The core of Naomi is her bravado mixed with her raging insecurity. And rage.

EDGE: You’ve played a number of tricky characters over the years. I’m thinking of the one you played on Shameless over the course of four episodes or so. I thought you were really good in that.

EC: You know the pilot I had done with Jenji Kohan and Bruce Miller? I found out that it hadn’t been picked up right before the Shameless audition came up and, also, I had had a child four weeks earlier. I was such a fan of Shameless and the cast and the directors—and it shoots in Los Angeles, which when you have a newborn makes it all the more appealing—that I really wanted to go in and audition. Well, the character I read for was an overwhelmed, exhausted mother who didn’t feel well, which is sort of how I felt [laughs]. The whole thing was a blur, honesty. I was white-knuckling my way through it because I was exhausted and terrified. I think that translated on screen and made it all the more interesting. You just make sure you show up on set and know your lines backwards and forwards and just hang on, because they are all so good in that cast.

EDGE: The first time people saw you regularly was about 15 years ago on the FX series Lucky, which was nominated for an Emmy. I know the series only lasted a year, but that must have been a fun cast to work with.

EC: Oh, I loved that show. It was so fun to be the girl with all those guys. We had a really, really good time. I think you could tell. Craig Robinson and Billy Gardell together were genius. We would go to Vegas sometimes to shoot exteriors and I would just make sure I got to bed at a reasonable hour. The guys went out all night.

EDGE: After that you played the lead in the cult horror movie Dead & Breakfast. That looked like fun in a different way.

EC: The thing about Dead & Breakfast was that the writer and director, Matt Leutwyle—and Jeffrey Dean Morgan and Erik Paladino and the rest of the cast—we were all on a softball team together. Matt was like, Do you guys want to make a horror movie? So he and Billy Burke wrote this hilarious script and we all went up to Livermore, California for three weeks. I think we shot the entire thing at night and it was just the best time.

EDGE: And you got to kill someone with a chainsaw…

EC: I did. I remember swinging the chainsaw around and thinking, I really hope I don’t decapitate the cameraman [laughs].

EDGE: What roles do you look back on as being among your best?

EC: I feel that way about Lucky, for sure. I really thought it would stay on longer, but it was a little ahead of its time, with the gambling/Vegas theme. I did the first season of Goliath with Billy Bob Thornton. That was a great job. I’d admired him for years so it was a real pinch-me moment to work beside him. They always say don’t meet your heroes, but I admire him now even more.

EDGE: On Marvel’s Runaways you play an evil parent. Explain that for the uninitiated.

EC: You know how they say that every teenager thinks their parents are evil? The premise of Runaways is: What if you found out they actually are? I just found that to be so smart and so fun.

EDGE: Have your children watched it? Your oldest in almost nine now.

EC: They don’t get to watch it. I don’t think I’ve done anything they can watch yet. It’s so sad [laughs]. When my daughter is 10 or 11 she can watch Runaways. She’s getting close.

EDGE: What do you like about Runaways?

EC: I love Josh Schwartz and Stephanie Savage, the show-runners. They are such wonderful leaders. And I love the cast. There are 16 series regulars on that show. Usually when you have that many people you get one or two bad apples. But I have to say, it’s a wonderful working relationship we all have, and we’ve formed friendships that are just getting deeper with every year. I think that translates on screen. You can see that.

EDGE: What’s different now that you’re part of the Marvel Universe?

EC: You know, I didn’t get it until I got the job. Then I was like, Oh my God…I’m in the Marvel Universe! You get a Marvel email! And the way they welcome you to it, it feels very big and exciting. I love it. I framed my pick-up letter on that show.

EDGE: Playing two different parts on two concurrent series, do you think of yourself as a character actor?

EC: I guess that I do. I remember when I was a kid my dad telling me that he was a character actor and I was like, “What’s that mean?” As I’ve grown older, I’ve found that character actors sometimes get the best scenes—the scenes you really remember when the whole thing’s over. It’s a gift and an art unto itself.

EDGE: When you think of your family, what are some of the favorite roles they have played?

EC: I remember as a kid, my dad making me sit down and watch Captains Courageous, and kicking and screaming because I didn’t want to. Twenty minutes in, I was completely riveted. I just loved Captains Courageous. And c’mon, Revenge of the Nerds, are you kidding? [laughs] And my uncle Keith, I was lucky to see him on Broadway as Will Rodgers. He’s good in everything, but he was just so good in that show.

EDGE: We have a Q&A with Timothy Olyphant in this issue. Your uncle co-starred with him as Wild Bill Cody on Deadwood.

EC: He did. And they killed him off almost right away. I think they had some regrets about that down the line.

EDGE: Your father was in a movie with John Wayne.

EC: He was. He was in a movie called The Cowboys. I feel my daughter is just about the right age to see that. She loves horses and I think she’d love it. That’s maybe on our movie-viewing list. I loved that movie as a kid, too.

EDGE: And was there anyone better than your grandfather, John Carradine, in The Grapes of Wrath?

EC: I know, right? I haven’t seen that in forever. We definitely need to up our Friday family movie night game!