IN CONVERSATION WITH KYLE ALLEN

interview by JANA LETONJA

Kyle Allen is quickly establishing himself as one of Hollywood’s most versatile and magnetic young actors. Recently, he captivated audiences in ‘The Life List’ opposite Sofia Carson, and in Kathryn Bigelow’s highly anticipated Netflix feature ‘A House of Dynamite’, alongside Idris Elba and Rebecca Ferguson. A classically trained dancer who attended the prestigious Kirov Academy of Ballet in Washington, D.C., Kyle brings a rare physical precision and emotional intelligence to his craft.

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jeans ENTIRE STUDIOS
sunnies LUNETTIQ
shoes SAVAS

‘The Life List’ has been such a success for Netflix. What drew you to the story, and what do you think makes it resonate with audiences?

I’ve read a lot of rom-com scripts, but ‘The Life List’ has a really unique angle that snuck up on me. It’s special.  It manages to catch a particular vibe that oscillates beautifully between joyful ease, humor, and sincerity. It’s a completely relatable portrait of love and loss. Adam Brooks, who wrote it, has a brilliant way of maneuvering through his work that is so gentle and focused. I haven’t seen that balance be pulled off so well. 

What was it like working opposite Sofia Carson and bringing that emotional connection to life on screen?

We had a genuinely great time. I am in consistent awe of that woman. She operates so consistently with such grace, it made everything easy. Sometimes I have to put immense effort into creating a particular dynamic and sometimes it happens so naturally I forget I’m at work. Working with Sofia is the latter. 

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You’ve also recently starred in Kathryn Bigelow’s ‘A House of Dynamite’. The film has a powerhouse cast, including Idris Elba and Rebecca Ferguson. What was it like collaborating with them?

I was simply lucky enough to be included. I think that was the general vibe on set with everyone I spoke to. We all felt it was an important story and wanted to make our puzzle piece fit as best we could. I didn’t get to work with Idris or Rebecca as the film has many different converging locations and storylines. I did get to spend a bit of time with Kathryn, and I’ve tried to bottle that experience and hand it to people, but I haven’t been successful. So I just walk around telling everyone who’s asked me that she’s a badass. Because it’s the truth. She just is. 

You trained as a classical dancer at the Kirov Academy. How has that background influenced your acting style and on-set presence?

Ballet is incredibly specific and intentional. There are no shortcuts. In Ballet, I go on stage wearing almost nothing. Everyone can see every part of my body. There are no tricks or wires or anything to help me. If I can’t do the move or if I fall, that’s it. There’s no hiding. All I have is what I’ve practiced and suffered for in the studio for years and years. I try to approach all performance the same way. Paradoxically with acting I must also practice relaxation. It is difficult for me, as I’ve trained myself to be ready to do physically challenging things when everyone’s staring at me. On set, when they’re staring at me, it’s because they need me to be fully present and vulnerable. So, I’ve had to retrain my nervous system to do that. It’s been a process. 

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What inspires you creatively the most, and why?

Other artists mostly. I always get inspired by people who are smarter than me, who can do things I can’t fathom. I like to hunt them down and make them answer my questions. It’s made me some wonderful friends. Anyone who can kick my ass in any given discipline I want to know more about. I’m still here, not because I’m interesting, but because I’m interested. 

From ‘The Path’ and ‘American Horror Story’ to major studio films, your career has evolved rapidly. How do you stay grounded through it all?

From day one, everything I have to my name was in one way or another handed to me by the kindness of others. Teachers who deferred payment when I couldn’t afford classes. Friends driving me to auditions when I didn’t have a car. Directors who couldn’t cast me but called me anyway to tell me to keep going. My manager just believed in me. I had zero credits. Beau Swayze. I’ve been with him for ten years.  I didn’t do that. He did that. He bet his reputation on me and now I make a living acting?  There’s only ground here. If it all evaporates tomorrow, I’ll still have a lot of thank you cards to write. 

What can you share with us about your upcoming projects?

I’m really excited about ‘Legalize Dance’ aka ‘Congress’. It’s the most inspiring thing I’m working on right now. I think it’s going to be huge.  There’s loads more, but that’s what I’m focused on right now. 

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jeans ENTIRE STUDIOS

TEAM CREDITS:

talent KYLE ALLEN
photography JESSE VOLK
styling KELSEA CHAPEL
grooming CAROL PARK
lighting STEPHANIE GREENE
editor TIMOTEJ LETONJA
interview JANA LETONJA