IN CONVERSATION WITH FIONN LAIRD

interview by JANA LETONJA

Fionn Laird is a stage-trained actor making an arresting leap to screen, blending classical theatre roots with a sharp, modern intensity. He currently stars as Nick in ‘The Institute’, the new MGM+/Amazon adaptation of the Stephen King novel, alongside Mary-Louise Parker and Ben Barnes. A student of Toronto Metropolitan University’s Creative School, Fionn brings both gravitas and grit to every role, from Shakespeare to Stephen King, marking him as a rising talent to watch.

You trained at Toronto Metropolitan University’s Creative School. How did that classical training shape your approach to roles today, especially in such intense and contemporary material like ‘The Institute’?

I think despite the clear contrast between something like ‘The Institute’ and a piece written upwards of 400 years ago, most “acting styles” lend themselves very nicely to each other's mediums and can even be, I would say more often than not, complimentary. When you get down to the brass tacks of any performance, whether it’s on stage or screen, the emotional core and focus of an actor’s character work is going to determine what an audience considers truthful. Having studied and performed Shakespeare and other “heightened” works, character intention and emotion needs to be as clear for the mezzanine as it is for the front row. This is obviously not the case in front of a camera. However, that intention and the emotion attached to it still needs to be present, otherwise you have a nothing-burger. The trick that worked for me was exploring everything within Nick that I might have explored in a character of something more theatrical, and then finding how that lived in my “casual” body as opposed to projecting that to a theatre of people.

In ‘The Institute’, you play Nick, a “determined badass.” How did you prepare to embody a character who’s both psychically gifted and emotionally complex?

Thankfully, this is an adaptation, so I was able to borrow a lot of what drives Nick’s bravado from both the material provided by Ben Cavell and Stephen King’s original work. Getting to that place of harshness was another story. I think part of it was understanding Nick’s unique perspective on everything happening at The Institute. Every one of his companions is still very much a kid, naive and hopeful. He, however, due to his prior circumstances, has been forced to be an adult, or at least have the personal responsibilities of one, in his normal life. He has no family that we know of, and anyone he has ever trusted has abandoned or betrayed him, whether or not that’s due to his extraordinary abilities is uncertain. If anything, his “gift” is something he deeply resents. He has every reason to believe that Sigsby and the rest of the staff at The Institute are no different from the monsters at home. Finding Nick’s constant state of guardedness and suspicion was paramount in embodying him, and how it changes for the better upon Luke’s arrival.

Stephen King’s stories always come with intense psychological layers. What was it like working under that pressure, especially in a story with such a loyal fan base?

It’s true, there’s that almost double pressure of capturing the stark atmosphere that comes with any of his darker novels , plusthe added pressure of your average King fanatic liking the work you do. I have never witnessed a more scholarly group of fans when it comes to a writer. Online discussions pertaining to his works are often more analytical than celebratory, and there’s a lot of debate about his overall greatest pieces, including the best adaptations. So, yeah, that was pretty daunting. But also exhilarating. There was motivation beyond just “doing a good job”, you now had to do it justice. And part of that is matching the oppressive style of his writing, which takes its own toll. It’s definitely not for the faint of heart, but gosh, is it ever a thrill.

You’ve taken on roles in ‘Julius Caesar’, ‘Macbeth’, and ‘Richard III’. What’s the biggest lesson the stage has taught you that you now carry into your screen work?

Be kind, be professional, be punctual, and vouch for yourself. Put in what you expect. I can’t tell people enough how big of a difference a solid ethic is in making meaningful connections and creating good collaborative art. I was pleased to discover its universality throughout the acting world. That being said, be helpful, but seriously, vouch for yourself. Only you know how you truly feel about something. You can save a lot of time and worry by making sure you feel comfortable and safe on any set, stage or screen, and that requires being your best and loudest advocate.

Stage work often involves live audience feedback and physicality. How do you stay emotionally connected to a scene on a film set, especially without that energy?

I’d say that energy is still there, just in much more intimate form. For something as expressive as stage work, there’s a somatic connection between the audience and performer that fuels and justifies the necessary vocal and physical projection of the actor. When it’s only you, your scene partners, the camera operator, and the boom operator, you’re receiving less overall energy. That being said, you’re also not obligated to have that theatrical level of expression anymore. The only people you have to "convince" are within a couple inches of your face. So, while you’re not necessarily receiving as much, you’re also not giving away a lot. You can be more articulate with your intention, reaction, body. That energy exchange is still there, even just as potent, but it’s focused in a way that suits the circumstances of the medium. You can afford to work out the minute intricacies between you and your scene partner. What is intended for them is still translated to the audience. And you can be experimental. You have multiple takes, so if it feels stale, you can switch it up in an alternate but still truthful way.

What was the turning point when you knew it was time to transition from stage to screen?

I have never reached that turning point and I hope I never will. What will come, will come.

What kind of roles are you most drawn to next? More psychological thrillers, classic adaptations, or something totally new?

At this point in my career, technically everything is new. I feel like even with my experience now in the thriller genre, I’ve still barely scratched the surface of anything I’ve done. A project is as unique as the people who make it up, so I’m honestly just pumped for any new group of people that comes from a new project. It could be of any design. Although, there’s nothing like a good dramedy or tragicomedy. Something like ‘Beef’ or ‘The Bear’. A role in something like those would be a dream. I would of course love to work with ‘The Institute’ crew again.

You’ve already shown such range early in your career. What story or character has stayed with you the most, and why?

I had the honor of being a part of a truly Canadian story on stage in 2023 at Arts Club Theatre Company and Theatre Calgary, Mark Sakamoto’s ‘Forgiveness’, adapted from book to stage by Hiro Kanagawa, a celebrated playwright who also happens to be a celebrated screen and stage actor, and directed by Stafford Arima, a very important mentor of mine. Not only did it deal with the complexities of Canada’s involvement in World War II, particularly the realities of interned Japanese-Canadians and Canadian prisoners of war, but it explored how those events continue to affect families decades later and the titular action of the show: forgiveness. Something about retelling such a specific but immensely important aspect of Canadian history, coupled with working alongside people whose experiences were reflected in the material and the fact that the source material was autobiographical, really provided me with a deep connection to my time with the project and the people involved.

How do you like to spend your days off?

I'd like to tell you that I run and do very productive things, which is sometimes true. But more often than not, I’m going to be making every excuse to stay in my room. Sometimes I build Gunpla, play videogames and try to read. I’ve been really into sci-fi lately. 

What is coming up next for you? Any exciting projects lined up that you can share with us about?

I’ll be acting in my first feature film this September. Could not be more excited.

CREDITS

photography BRAD EVERETT YOUNG