Mark Hamill has spent nearly five decades in the spotlight, but the actor insists he’s still learning to disappear.
“The definition of a character actor is an actor that disappears, and you see only the character,” Hamill says about his role in Mike Flanagan’s “The Life of Chuck,” which won the Toronto International Film Festival Audience Award in 2024 before being acquired by Neon.
In Flanagan’s adaptation of Stephen King’s novella, Hamill plays an aging accountant — an intimate and surprising departure from the larger-than-life characters that made him famous, such as Luke Skywalker from the “Star Wars” series. The film, which stars Tom Hiddleston, Chiwetel Ejiofor and Karen Gillan, explores memory, mortality and the marks we leave behind.
One thing about Hamill, he knows how to keep a secret.
Before playing accountants and voicing cartoon villains, Hamill kept one of Hollywood’s biggest secrets. While filming “The Empire Strikes Back” in 1978, director Irvin Kershner pulled the actor aside with news of a script change.
“’I’m going to tell you something. I know it. George Lucas knows it, and when I tell you, you’ll know it,’” Hamill recalls Kershner saying. “So, if it leaks, we’ll know it’s you.”
The original script had Darth Vader telling Luke Skywalker that Obi-Wan Kenobi killed his father. But Kershner revealed the new line: “I am your father.”
“The hard part was I had to keep that secret for over a year and a half,” Hamill says. He kept it so well that Harrison Ford, sitting in front of him at the premiere screening, turned around and said, “You didn’t even tell me.”
Hamill said the original twist would have been compelling on its own. “That is a great twist, if it turns out that he didn’t present himself honestly and he was a villain.” Nonetheless, the father’s revelation became “one of the all-time great twists” in cinema history.
While “Star Wars” made Hamill a household name, voice-over work gave him artistic freedom. His portrayal of the Joker in “Batman: The Animated Series” became definitive for fans of the popular TV series.
“Nobody believed it was me,” Hamill says. He would do the voice for people at grocery stores, seeing their reactions to his Joker voice. The role became a turning point in his career, showing him a world where physical appearance didn’t limit his casting opportunities.
Hamill is passionate about animation as a medium. He argued that voice acting offers liberation from physical constraints while requiring the same emotional depth as on-camera work.
He laughs when asked about his 2021 Emmy win for his guest role in the animated series “Regular Show.” “I’ve never even seen it,” he admits. “I was thrilled, of course — who doesn’t like getting an award? But it was one of those surreal moments where you go, ‘Wait, for what exactly?’ It just shows how unpredictable this business is. You can work your whole life chasing one kind of recognition, and then it sneaks up on you from something you barely remember doing.”
Between “Star Wars” films, Hamill spent a decade on Broadway seeking character roles that would let him disappear into someone else. He played Mozart in “Amadeus” and the sleazy Gordon Miller in “Room Service,” earning critical acclaim. Despite not having plans to return to the stage, Hamill considers theater essential. “The audience is different every night, and they are a major part of a theatrical experience.”
Asked about Tilly Norwood, the AI-generated “actress” reportedly in talks to be signed by talent agencies, Hamill’s tone shifts to alarm.
“It’s terrifying,” he says. “After I pass away, are they going to go to my family and say, ‘We’ll pay you all this money so we can do him at age 28’ or whatever they do?”
He compared the development to ads featuring deceased performers, such as Gene Kelly. “Would Gene have wanted to be a spokesman for a vacuum cleaner? I don’t know,” Hamill says. “It’s too many unanswered questions.”
The actor called AI performers “terrible,” “ghastly,” “ghoulish” and “weird,” struggling to articulate concerns that felt beyond comprehension.
Nonetheless, working on “The Life of Chuck” compelled Hamill to confront questions of his own legacy and memory in ways his blockbuster work had not. His wife has told him “The Life of Chuck” is her favorite thing he has ever done. For an actor who has played icons, voiced villains and wielded lightsabers, that verdict from someone who knows him best is what brings him immense joy.
“I wouldn’t be sitting here talking about it if it weren’t for Mike Flanagan,” Hamill says passionately. The director thought outside the box in casting him, offering “a small but distinctive character part” that terrified him precisely because he couldn’t immediately figure out who the character was.
That uncertainty brought Hamill back to what drew him to acting in the first place: the opportunity to look in the mirror and not recognize himself.
On this week’s episode of the Variety Awards Circuit Podcast, Hamill reflects on his career, the joy of working on “The Life of Chuck,” and the stories that continue to make him one of Hollywood’s most treasured performers.
Also on this episode, “Ballad of a Small Player” star Colin Farrell discusses working with director Edward Berger and what we can expect from “The Batman 2.” Listen below!
Read excerpts from the edited and condensed version below.
Neon
You’re here for Mike Flanagan’s “The Life of Chuck.” What surprised you about the film and working with him on Stephen King’s material? And did you enjoy Tom Hiddleston’s dance as much as we did?
It’s one of the greatest dance sequences of all time, because it’s unexpected and grows organically in a believable way. If you go to an MGM musical, you’re expecting a dance number. This one grows out of nowhere, and like everything else about the movie, it’s so unexpected.
One of the challenges for me was how to promote this — how do you describe the indescribable? When Mike emailed me that he had a part he thought I’d be right for, I immediately ordered “If It Bleeds,” the collection it’s in. I’d worked for Mike in “The Fall of the House of Usher,” and I’d seen his work — “The Haunting of Hill House,” “The Haunting of Bly Manor,” “Midnight Mass.” With his reputation and Stephen King’s, I was expecting the epic supernatural horror script of all time. I was set up the wrong way, but it really worked because it was so unexpected.
Stephen King doesn’t get the credit for his versatility as a writer. He wrote “The Green Mile,” “The Shawshank Redemption” and “The Body,” which became “Stand by Me.” He’s capable of much more than “The Shining” or “Carrie.” Even then, I wondered how he came up with this. And then I thought, how will they adapt it? Mike did an incredible job. I’ve seen it three times, and each time I’ve picked up something different. My wife says it’s her favorite thing I’ve ever done. She’s seen it six or seven times.
Being isolated the way I am in Act One — which comes at the end — spoiler alert — I read what happened on the page, but seeing the performances by Karen Gillan and Chiwetel Ejiofor, I mean, come on. Carl Lumbly, whom I worked with in “Usher,” is always great. Tom Hiddleston — who knew he was such a nice person and enormously talented?
You’ve worked with Flanagan on “Usher.” What made that collaboration click for you?
I wouldn’t be sitting here talking about it if it weren’t for Mike Flanagan. He came over with Trevor Macy to my house to talk about “The Fall of the House of Usher.” I’d seen three or four things of his, so I was already a fan. When I signed on, I went back to his IMDb and watched everything he had done.
What I found remarkable was that the part would have been routine in voice-over. I’ve played sociopaths — but never on camera. That’s what I found so interesting. It’s a small but distinctive character part, and it was scary because usually when you read something, you say, “Oh, I know who this guy is.” I flew to Vancouver with no clue, which was really scary.
Remarkably, Mike thought of me at all. Should I be insulted that he wants me to play an evil, sociopathic enabler? One thing I love about Mike is that he makes it relatable. The Usher family sells Ligodone — billions of dollars — but it’s highly addictive and kills hundreds of thousands of people. Oh, you mean like the Sackler family with OxyContin. With that relatable baseline, you can accept the bizarre happenings. As the family lawyer, I’m investigating. Call me Mr. Exposition, because I’m providing the information the audience needs. It was hard to memorize.
But I’m grateful that Mike thought of me and thought outside the box. I’d never been offered something like that. And he’s one of the most even-tempered people. I’ve never heard him raise his voice, lose his temper or throw things. It’s like being in a big family.
You’ve said animation lets you disappear. What does animation mean to you, and how did playing the Joker in “Batman: The Animated Series” change things?
I can see why people distinguish the mediums. In one, you cannot be seen — and that’s liberating. You’ll make choices you might not make on camera, where subtlety and nuance count for a lot.
What I love about animation is that the definition of a character actor — an actor who disappears and you see only the character — applies to everyone. You’re immediately a character actor, and you get parts you would never get on camera because you’re not physically right for them. If you can sound like a 6-foot-2, muscle-bound bodyguard, you’ll get the part.
It was a revelation to me. I spent 10 years on Broadway, but when I really got deeply into animation, I built a reputation with directors and writers for being on time and professional. I’m sure people thought, “Oh, he’s going to show up with an entourage.” But once you establish that you’re there for the work, I thought, where has this been all my life? I’d be happy never to be on camera again. That’s how much I loved it. The voice-over community is welcoming, and they’re all so gifted. It doesn’t seem as cutthroat as competing for on-camera parts.
The Joker was a turning point because it had such a profound impact. The series was well written and beautifully cast. There were episodes that could have been live action. There’s an integrity and seriousness of intent. It wasn’t the Saturday morning “Super Friends” version. It was written to attract children, as well as their parents and older audiences.
Would you ever go back to Broadway? What did theater teach you?
My wife says that since I played Mozart in “Amadeus,” now I’m old enough to play Salieri. I say no. The older you get, the less you care, in a way. But if something came along, you’d have to say yes. I love people who sign on for a 16-week run, not an open-ended year or year-and-a-half commitment — you start getting a bit batty.
One alarming moment came after a performance of “Amadeus,” when a teenage girl at the stage door was in tears. She was so moved — effusive with praise. In the cab home, I thought I should remember what I did to move her like that — and I couldn’t remember anything. I thought, “Wow, am I turning into Mr. Machine?”
People say, “How can you do the same thing every night eight times a week?” The audience is different every night, and they are a major part of a theatrical experience — unlike anything on television or in movies. It’s a singular experience every actor should try.
Let’s rewind back to “Star Wars” and your time in the franchise. Are there any good stories you’d like to tell us?
Let me tell you a little story about that reveal in the script. The line was, “You don’t know the truth. Obi-Wan killed your father,” and it was played exactly as you see it in the film: “No, that’s not true. That’s impossible. Search your feelings. You know it’s true.” This is how we filmed it.
Ironically, within two days, one of the stormtroopers would go down to the pub during lunchtime, and there’d be tabloid people offering five or 10 pounds for any news. Irvin Kershner came to my dressing room and said, “I’m going to tell you something. I know it. George Lucas knows it, and when I tell you, you’ll know it. So if it leaks, we’ll know it’s you.” And I said, “What is it?” He said, “We’re going to take out the line ‘Obi-Wan killed your father’ and put in ‘I am your father.’”
The Guinness thing was a pretty good twist. Unfortunately, it’s impossible to control leaks, but it was still stunning. The hardest part was keeping that secret for over a year and a half. At the first screening, Harrison was sitting in front of me. He turned around and said, “You didn’t even tell me.” I was too afraid. I didn’t leak it to anybody, and I didn’t tell my wife. I thought, “Well, I talk in my sleep.”
Would you return for future “Star Wars” projects?
The way I feel is I had my time, and I love what they’re doing with “The Mandalorian” and “The Book of Boba Fett.” They asked me to do brief cameos when Luke was at the height of his powers. I told George it’s almost like if you did this for James Bond — Episode One, he’s a kid dreaming about the future and hearing about secret agents. In Episode Two, he trains to be a secret agent. In Episode Three, he earns his license to kill — and then you stop. No “Dr. No,” no “From Russia With Love,” no “Goldfinger.” Luke has a beginning and an end, but no middle. That’s just how it played out.
I had my time. They’re doing great, and I wish them all the best.
There’s a new AI “actor,” Tilly Norwood, who is reportedly going to be signed by a talent agency. What do you make of AI actors?
(shows picture of Tilly Norwood) Oh my gosh, she looks like a real person. It’s terrifying. After I pass away, who knows — they could go to my family and say, “We’ll pay you all this money so we can do him at age 28,” or whatever. It’s unfathomable. That’s the problem — it’s beyond my comprehension in terms of the effects. I almost don’t know what to think, other than it’s terrible, ghastly, ghoulish, weird.
Remember that ad where Gene Kelly was dancing with a vacuum cleaner? His estate got paid and all that. But would Gene have wanted to be a spokesman for a vacuum cleaner? I don’t know. Too many unanswered questions.
The film deals with legacy. Did making it spark reflections on your own?
It made me aware of that aspect. It’s something you’d rather not think about.
Variety’s “Awards Circuit” podcast, hosted by Clayton Davis, Jazz Tangcay, Emily Longeretta, Jenelle Riley and Michael Schneider, who also produces, is your one-stop source for lively conversations about the best in film and television. Each episode, “Awards Circuit” features interviews with top film and TV talent and creatives, discussions and debates about awards races and industry headlines, and much more. Subscribe via Apple Podcasts, Stitcher, Spotify or anywhere you download podcasts.
