Newman studied with famed theater director and acting coach Lee Strasberg in New York, honing his craft alongside Kim Stanley, Julie Harris and Marlon Brando. He told the Actor’s Studio, “I kept my mouth shut and my ears open, and that’s how I seemed to learn: more by watching than by trying.” He goes on to describe himself as “tenacious”, the kind of actor who had to work to get into character rather than slipping in and out like his wife Joanne Woodward (they met at the Studio), whom he calls more “intuitive”. ” interpreter.
For “Cool Hand Luke,” this technical and emotional study would result in a performance that exudes effortless anti-hero vigour. Newman was already an established star in 1967; Ethan Hawke’s docuseries “The Last Movie Stars” features a clip of the Beatles naming Newman to the press as the Hollywood star they would most like to meet. As Lucas Jackson, Newman would establish himself more as a magnetic Hollywood rebel; Jackson wouldn’t “really fit in well” as the director first predicts, but would bristle and squirm against authority figures as much as his rebellious cinematic relative Randle McMurphy in “Flight Over a Bird’s Nest.” cuckoo”, almost a decade later. It’s a performance that would earn Newman his fourth Best Actor Oscar nomination, but it would be two decades before he won an Oscar, thanks to his collaboration with Martin Scorsese for ‘The Color of Money’. in 1986, a sequel to 1961’s “The Scammer”
Could Newman have won the Oscar, had he shot all fifty eggs? Maybe. But the actual repercussions of ingesting six pounds of eggs would have made the afternoon in Mr Newman’s trailer unpleasant.