Recently I had the extreme pleasure of speaking with David Valcin, a gracious, intelligent, soft spoken, VERY humorous gentleman actor well respected in the acting community for his work on stage and screen.
David Valcin has had an impressive career dating back to 1992. Though raised in Brooklyn, NY and Quebec, Canada, the veteran actor was born in Staten Island and has never strayed far from home, as the saying goes. He currently resides in NY with his wife and their three sons where, when he is not acting, he spends a lot of quality time with his children as a stay-at-home dad.
He became interested in acting at an early age and began his career in high school in a community theater called The Jubilee Players and continued his studies at Earlham College in Richmond, IN, and at The Atlantic Theater Company in NY and VT.
Over the years he has had many roles but will be remembered by many as Eddie Fairbanks on the television comedy TWO OF A KIND (1998), starring Mary-Kate Olsen and Ashley Olsen. Some of his other television acting credits include JUST SHOOT ME! (1997), THE PRACTICE (1997), THE GUARDIAN (2006), LAW AND ORDER (1990), RESCUE ME (2004), THIRD WATCH (1999) and MONK (2002) to name a few. He has also appeared in the films NEW YEAR’S EVE (2011) and THE ACCOUNTANT (2000).
Of course, most know him best for his recurring role as Anthony “Scarface” Marconi on the CBS action drama PERSON OF INTEREST (2011). Valcin has appeared in eleven episodes throughout series four year history, expertly crafting the mysterious but lethal character of Scarface, lieutenant and right-hand man of mob boss Carl Elias (Enrico Colantoni). Scarface brought a frightening persona to the POI universe, ruthlessly carrying out Elias orders.
The duo of Elias and Scarface has been with the series since its inception, evolving throughout the seasons. At odds with Reese (Jim Caviezel) and Finch (Michael Emerson) initially, the relationship grew into something very similar to allies. And who can forget that to Scarface went the task of finally avenging the death of Detective Joss Carter (Taraji P Henson), a character who had befriended the duo.
But there was another side to Scarface, a sensitive, loyal side which fans were introduced to in ‘The Devil You Know.’ Elias was threatened by the up and coming Brotherhood, and while the viewers were concerned for Elias’s safety, it was Scarface who gave his life protecting his boss and long-time friend.
It was a definite jolt to POI fans everywhere. Scarface was extremely well liked on the series, and David is extremely well liked among the Irrelevants. All were very saddened to see Scarface exit the series, but as a body was never seen, some hold out hope he will return one day.
In the interview David talks about his start in acting, his experiences on the PERSON OF INTEREST set, the character of Scarface, and his future goals. I am very grateful to him for taking the time to do the interview with me. He is one super gentleman and SOOO easy to talk too. 🙂 Hope you enjoy reading this as much as I did writing it.
You began acting in High School in the Jubilee Players theatre, continued at Earlham College and, after that, at the Atlantic Theater Company in NY and VT. Seems you knew what you wanted to do at a very young age. What was the reason you decided to go into that profession?
Well my simple answer is BUTCH CASSIDY AND THE SUNDANCE KID.
I loved that movie!
I saw it when I was inappropriately young, and to this day its one of, if not my favorite, movie of all time, definitely well in the top 10. I just thought Paul Newman and Robert Redford were pretty cool, and if I could do that, that would be all right. I think that’s where it started in my head that’s what I remember. My parents felt that I needed some kind of a religious background so we were going to a Catholic church starting to get me in the process of Confirmation and First Communion as I was baptized at a later age; I think I was in middle school. And there was an ad in the church bulletin about auditions for the Jubilee players, which is a small community theater. They were starting up auditions for ARSENIC AND OLD LACE and I got the lead. So from there it just sort of grew. Of course I was deathly afraid. Walked into the audition never having done it before and it worked out. It worked out okay. And that was it. The more I did it, the more I kind of fell in love with it. I did have other passions in life, but that was the longest lasting one and the one I seemed to do well at.
That answers how you got your first role too.
I was nervous of course, but Mortimer, the lead character, is supposed to be terribly nervous for a large part of the play because he discovers his aunts were poisoning gentlemen callers and hiding their bodies around the house. Cary Grant does it in the movie and he’s one of my favorites. It’s worth a watch just to see him.
Well I just sort of lucked out for the transition. Everybody wants to make the transition because television and film pay significantly more than any kind of stage work you’re going to get. It’s also a lot easier schedule wise. It’s difficult for me with three children to do stage work now just because they are still in elementary school. So to have a commitment of a full-time job excludes me from being a co-parent with my wife.
So I was doing stage work in New York. I had my first audition for camera as an extra in a Spike Lee movie and was so thrilled that I got it, but I didn’t know what an extra was. Once I found out, I didn’t like it as much. Basically it’s like being treated like cattle all day. So I have copious amounts of respect for the people that do background work.
I began to audition for pilots. Pilot season where you try out for so many different ideas for shows, cast them, mount them, shoot them, send them to networks, and find out which ones are going to fly. And then it goes to series, or not. The first test I got was for THE DREW CAREY SHOW. And that’s when I started to make the transition because they were flying me out to California for the audition. That’s what a test is, just a big glorified audition in front of a bunch of executives. Kind of like a screen test I guess that’s where the name comes from. So THE DREW CAREY SHOW was the first test I got with ABC. And then I ended up moving out to California and started doing some guest spots, the second of which was JUST SHOOT ME! where I first met Mr. Enrico Colantoni [Elias].
And to compare the two, it’s basically the difference between sculpting and painting. I find that stage work is more like sculpting, working in three dimensions. A lot of your work happens magically between you and the audience because there is an immediate response to what you’re doing on stage. There’s a kind of symbiotic relation between you and the people that are sitting there watching you perform. It’s similar on a film set with the crew, but they are not the intended audience so you’re a little more removed. On camera, the work you do is more subtle. You don’t have to broadcast it to 300 to 1500 people in a theater. You’re merely trying to be as intimate as possible, so a small gesture on camera would be nothing on a stage. But a stage gesture on camera would look like you were just chewing up the scenery and throwing things. I would describe it as that. I enjoy both tremendously. I’ve done in the last few years a lot more work on camera and the more you do, the more you actually fall in love with it, and you get a little bit better at it, just the technical aspect of it not necessarily your ability as an actor but you’re on-camera technique.
Though most of your roles seem to be in dramas, you have done comedy as well, most notably as Eddie Fairbanks in TWO OF A KIND. Do you have a preference for drama or comedy?
I love both. I find drama is easier than comedy, not to beat an old cliché, but I really do. I started out in comedy. My first test was for comedy and most of the pilots that I ended up testing for were comedies. So that was certainly an entrée into television. But comedies have kind of dried up. There is just not as many. Back when I was starting out, there were more. That was before reality television had hit and taken away a lot of air time. Just a lot of programming was gone for a long time and what was affected the most seemed to be the half hour comedies. But I would not say I have a preference. It is fun to run around with guns and it doesn’t require any tremendous amount of timing or comic skills so it’s a little easier. (Laughs)
How did you find out about the role of Scarface/Anthony on PERSON OF INTEREST?
The casting director at the time, he has since moved on, was Mark Saks, who has been in the industry for a long time. He is actually the same casting director that brought me to the producers of TWO OF A KIND many moons ago. He has been a big supporter of mine. He’s not the only casting director that has looked after me and kept me in mind, but he’s a heavy hitter for me. The roles he’s brought me in for, I tend to book. ELEMENTARY, again, he was the casting director. My wife jokes and asks if I ever work on any shows that Mark Saks doesn’t cast.
So he called me and here’s a funny story. He had brought me in to audition for it maybe once or twice. This was the first season so it hadn’t even aired yet. Nobody knew what it was outside of Jim [Caviezel] and Michael [Emerson] being involved, and the little blurb about what the show was about. He sent me the sides for Scarface and if you read them, the character doesn’t have anything to say. In that first episode there are few lines, maybe 4. I actually complained to my wife, wondering why Mark was bringing me in for this little co-star role. It said I was possibly reoccurring but it was not a role, it was just a guy that’s in a corner. So I had a little bit of an attitude and my wife smacked me upside the head and said, “Hey, it’s Mark Saks.” And then I actually continued reading the sides and realized there was something else going on. They didn’t say who the guy was. They didn’t give a character description. They just said he has a police officer outfit, he has a scar, and that’s basically all they told me. He may not be who he seems and that they were going to call him Scarface. So I started to think there was something else going on. What hit me too was the scene when Scarface knocks out Fusco (Kevin Chapman) at ferry landing. I thought wait a second, what’s happening here? He’s waiting for his boss and knocks out a guy I know is a cop. So there’s something else at play. So I made some choices based on that and they liked it I guess. Well enough to hire me.
What was your audition like?
I walked in and I think Fred Toye, the director, was in the room with Mark Saks, the casting director, and one of the producers, Richard Lewis I think. He was sort of the man on the ground.
So you were not familiar with the series before you audition as it had not aired yet.
Yep. It hadn’t aired yet. I auditioned a few weeks to a month before the premiere. And that’s how I got hooked on the show and started watching it. Actually I think it [the series] aired before I shot my scene but not before I got the job. So I started watching it just because I knew I was going to work at least an episode. You kind of want to know what the tone of the show is, what the style is. How people were playing things so you don’t stand out in a bad way. And I fell in love with the show actually. The episode I really liked had a great performance by Jim [Caviezel]. I think it was the third or fourth episode [Cura Te Ipsum] where the abuser is a serial rapist and he [Reese] takes him to the Hamptons and just sits at a table with him with a gun sitting between them, wrestling with what he should do. Does he just kill him? In his heart he know he should, but can he be that person still. It was just great acting by Jim. And I thought the series was actually trying to do something besides the tricks. It impressed me, not that I wasn’t an admirer of Jim’s work, but I went ‘Wow, this guy is really working at the top of his game and it makes the series look good.’
That was a tremendous episode. The ending was pretty much left up to the viewer’s discretion.
Exactly! It wasn’t just the performance but it was the way the writers and producers handled the answer. They didn’t give it to you; they just put it in your lap. That’s great storytelling.
Those were the episodes people liked from the first couple of seasons. They were just excellent in writing and directing.
Yeah they really were. The first season for me is still my favorite I think overall. But because they’ve had to kind of spin it into the meaning of the machine and artificial intelligence, it’s gotten sort of different. I liked the first season because it was so human. There was this other thing in the background about who was watching us and who has the information but it was very ‘man on the street.’ It was at the street level, the story telling sort of took place in something very relatable to anybody.
That’s what appealed to the public I think. It’s the human interest part of the show because they could identify with it a lot easier, something that could happen to them in their everyday lives.
So what about the character appealed to you the most? Just the mystery of not knowing more about him but that there was something more down the road?
Well, once I got the script, it was different. When you start out auditioning for a part, they only give you the pages that they would like you to perform for them. They don’t give you the entire script. Just because they don’t want a lot of PDF to hand out, number one. Number two; they don’t want information about the storyline leaking. They give you the bare minimum you need to come in and give them some semblance of what you can do were they to hire you. But once I got the script, I kind of got what the deal was. Wasn’t clear whether he was actually a police officer who was also a crook or a crook pretending to be an officer, so that was still up in the air. But it was very clear that he was the left-hand of death of this mob boss, Elias. Plus there was a lot of stuff of Michael Emerson surveilling him that I still wasn’t clear on, making me think that maybe he was Elias which is why it’s possible recurring. And I thought the twist of Scarface ending up being Elias was great. But it was obvious that I was the left-hand of death or a ne’er-do-well, one of the two.
By the time I finished reading the episode, it gave me a real good idea of what the character was about. And the other thing that informs any choices I make performance wise, character wise, was the fact that as I was going to the costume fitting, maybe a week before we shot, I’m getting out of the car and I see this other guy going into the Wardrobe building. It’s Enrico Colantoni and, of course, I remembered working with him on JUST SHOOT ME!.
He [Enrico Colantoni] impressed me when I did that episode, though my scenes were not with him but with David Spade. But he was a real vibrant presence on set. He just treated everybody with respect and kindness and humor, made you feel welcome and seemed to go out of his way to do that. I’m just a lowly little guest star, my second side job ever and he made me feel so welcome, so warm. I always held that in the back of my mind. I hadn’t seen him for 20 years, but he always stuck in my mind as an example of how to behave when you’re fortunate enough to be a series regular on a television show. That’s a lofty gig. I just thought that’s the way to behave. When you get lucky enough, or you’re just good enough, or you’re whatever-it-is enough to be given this great opportunity, to showcase your work, to make a tremendous living, do all this great stuff, that’s the way you should treat other humans that you come contact with a long way. And when I was a series regular on TWO OF A KIND, I went out of my way to be that kind of guy.
So when I saw him, I just went up to him and said, “I know you don’t remember me but I worked with you on JUST SHOOT ME! many years ago.” And we just hit it off like I’d just seen him yesterday. It was that kind of thing. And once we started to work together, I just had the sense we would be friends. So that informed a lot of the bond that he and I created between Elias and Scarface. Our own personal affection for each other I think informed the relationship. So it wasn’t just a job, it was a lifelong friend. And in the back of my mind when I was thinking about it that’s what it was; two guys that came up through some muck and some mire of life that weigh them down some but their bond was inseparable.
That was one of the questions I had for you. What it was like working with Enrico Colantoni because he is one of my favorite character actors. I’ve seen him in just about everything that he’s been in. In the last episode the scene between the two of you, you could tell that there was something more there than just the script. I mean you guys obviously were very good friends.
We became very good friends. We don’t do holidays together, we’re not flying up every weekend to go out and drink together but every once in a while we talk, but it was more about work. It was great that we made expressos together, when I was smoking he’d have a puff of my cigarette with me just to keep me company; we were just running buddies on the set. We enjoyed each other, made each other laugh. He’s just one of those people you run into in life and you go “This guy’s all right.” I can hang with him anytime, anyplace. It’s almost like a short hand. You have an immediate short hand. That’s sort of what happened. The funny thing about that last scene was that we weren’t even on set together. His half of it and my half of it were shot on completely different days in different weeks. That episode ended up being spread over a tremendous amount of time for various reasons, set scheduling and actors scheduling. We talked about it. I knew the day he was shooting. He shot his half before I shot my half. Actually called him up and ask him if he wanted us to run it on the phone just a little bit, or was he okay. He said he was okay and I felt the same way when my time came to do it. When we wrote each other congratulating each other after the episode one of the things I think I said to him was that it was almost like we were there at the same time. We had thought it out and knew how to play it.
It did seem like the two of you were filming at the same time.
Tony, script supervisor, is sitting there feeding me my cues, feeding me Enrico’s lines but in my mind it was very much that he was sitting there. I was very much saying goodbye not just as a character, but saying goodbye as an actor, as a human, as a person to a friend. I got to spend incalculable hours with him over the last four years and was saying goodbye to him to. So it was just serendipitous that the friendship Enrico and I had translated so well to the relationship the characters had. It made it really easy. There was never a time when we didn’t know how to play something together.
You had a lot of chemistry on set and that makes it very pleasant, very realistic, for viewers to watch.
If you ever see Michael and Jim outside of work, just sitting in their chairs, after scene or on a day at Comic con, they also have an unwritten unspoken vocabulary between each other. They get each other within the work. You put them in a room together and I think they have a short hand also. And I think it’s evident on the show when you see the two of them together.
When you work such long hours I can’t see how you wouldn’t have chemistry especially between those two because they work a lot together. With 12-16 hour days you going to get to know the other person fairly well.
And if you know anything about film and television production, there’s a lot of standing around, a lot of waiting for the shot to get set up, the stunt to be set up. There is a lot waiting for the moves to the next set. So there’s a fair amount of free time between actual takes. It breeds friendship or animosity very quickly.
So all actors give a part of themselves to the characters they portray. What do you feel you brought to Scarface or I should say Anthony?
I think the faithfulness, the steadfastness that Anthony/Scarface had. I actually can’t bring myself to call him Anthony. (Laughs)
I know. It feels awkward for me too, but that is his name. I just like Scarface.
I know. I know. But I think that’s what it was. I think if there is some quality that I share with him, that’s it. I mean obviously I’m not a sociopath. (Laughs) As far as you know of course. (Laughs) His faithfulness to Elias culminated in a lot but that’s what we claimed all the way along. It wasn’t just a right-hand man, a henchmen, it was a partner almost. He’s definitely driving the bus but it’s our bus. I’d say that’s what it is.
And then my little wise ass smart guy thing, we use that a few times. (Laughs) And the little swagger I had when I walked. That’s not the way I walk normally. Maybe somewhat how I strut, but that was exaggerated for the Scarface.
When Scarface was first seen, he seemed hard-as-nails and yet he evolved into a very warm and endearing person loyal to his boyhood friend Elias. Did you expect that when the series started and did you like the way your character developed?
As far as the development, when we started the series, it was an open thing. They say when you audition for the role it’s possibly recurring. So it might be more than this one episode. It might be two episodes. It might be three. It might be seven. You might end up being a series regular. This is the only time I’ve ever auditioned for and booked a job that said possibly recurring, that was actually recurring. A lot of times I think it’s advertised as possibly recurring so a better actor might take a smaller role because there’s a kind of very tentative promise that they’ll be working in the future. So I didn’t really have any idea where it was going to go. I just wanted to tell that week’s story as best I could. The first season was great. I worked in 4 or 5 episodes I think and loved where the storyline was going. The second season was tough because Elias was in jail and not much for me to do. It was funny because they kept putting me on hold for episodes but then when it came down to the week before shooting, in the last revision of the script I would be cut out. They felt they didn’t need to see Scarface. They could do it with a phone call or a still picture. I liked what Jonathan and Greg and the illustrious Amanda Segal (Scarface’s creator) and all the writers do on the series from the get go. I’m constantly impressed with the intelligence, the humanity, the intricate jigsaw puzzling nature about what they write on a weekly basis, especially when you look back upon an entire season and you see how the storylines intertwined and evolved. Even between seasons, it’s just amazing the construct they’ve created. The universe they’ve created between the humans that populate the story, between the artificial intelligence and between times. They jumped time in the flashbacks. I’m always impressed. And I can’t complain about what they did for me….. outside of the fact that they killed me. (Laughs) But at least it was a good death. (Laughs)
One of the things Scarface is always going to be associated with is the death of Officer Simmons (Robert John Burke), the person who killed one of the most popular characters on the show (next to Reese and Finch of course), Detective Joss Carter. Did you expect that and did you like the way that developed? Did you feel that was appropriate for the character?
That was one of my favorite moments. Enrico had a good, and obviously a lovely speech, but when we shot it they were keeping raps on the fact that Taraji was dying. So when they handed out the script, even after I’d been hired, they only gave me those pages, like it was an audition. They wouldn’t give me the full script. I didn’t get the full script for that episode until after they killed her. I told them I had every other script that I was in, but not that one, and I needed that script. The writer’s assistants there had to actually go through all the scripts and get me the right one. They had five or six fake ones rolling around for the three episode arc. So that nobody would know, so that nothing would leak that Taraji died. So they had to actually piece it together from these drafts to finally send me a PDF of the actual shooting script of that episode.
I thought that the speech [Elias] was amazing and I love the fact that I got to kill him [Simmons]. I love Bobby Burke. I admired his work for many, many years. I only worked with them on the series twice. I had a meeting with him and Fusco in season two and then his death scene in season three. He is a class act, just a real, the term is ‘regular guy’ but he’s anything but regular. He’s just very down to earth, blue collar, man’s man guy. I just enjoyed him, his energies, his abilities, his acting. We had a great time shooting that. And Enrico was not there that day either, because he worked in Toronto quite a bit. He was on a series then and is on a new series now, so getting him to New York to shoot was always up in the air. But we figured out a way to shoot it where Enrico didn’t have to actually be in the room, not dissimilar to my death scene really. I actually, on the day, had to read Enrico’s lines for Bobby. So I did my best Elias impersonation and then stepped out of the shadows and strangled him. (Laughs)
Have to say, I thought that the way they handle it, getting Reese off the hook morally, was great. We were the guys that could do it. Nobody would care. We don’t lose any moral points by whacking the corrupt cop. And I thought that the fact that they tied in our obvious affection for Carter was great to because we obviously had that.
I thought they wanted to give everyone a part in avenging her death. Her morality touched many characters in a positive way, even the bad guys. So I thought it was very appropriate; especially since you so sincerely thanked her for saving Elias.
Exactly. I thought it was handled beautifully. And just loved what Enrico was saying, the little speech about morality and Scarface, Elias and Simmons place in the moral scheme of things. We are definitely outliers compared to Reese and Finch. The character of Reese is a guy who is redeeming himself. The beauty of the story is watching John Reese redeeming himself from a guy who pulled the trigger when he was told to, to actually making more moral judgments on his own and learning to make the right one, about what’s right and what’s wrong, when to kill and when not to.
So let’s talk about your death scene. How did you feel when you read the script and learned Scarface was going to die? You obviously liked the way it was handled. I thought it was very well done, but how did you feel when you first found out?
The way I found out about it was I was on hold for the episode, meaning they hadn’t booked me yet. Meaning you’re definitely going to work this episode and here are the days and all this stuff, but it was getting close. So I was kind of like where’s the phone call about when I’m working or did I get written out of the episode again. As it turned out, a friend of mine was in town, I had to drive to the airport, run into the city for an audition and go to a screening of a friend’s movie. It was just an insane day. My phone rang twice but it was a California number that I didn’t recognize so I just didn’t pick it up and I forgot about it until the next day.
The next day I’m on Twitter and I saw a tweet about some event that Greg Plageman and Jonathan Nolan had been at, it might’ve been comic con, that weekend. Greg had evidently made a comment that the way they were going to keep things interesting in season four was that people were going to die. He had added that, as a matter fact, he had to make a phone call to an actor to tell him. So I saw this little blurb and I wondered who’s going to get whacked. Shortly after my phone rings again and it’s the same a Californian number that I didn’t know. Didn’t answer it again but did check my voice messages from the previous day and heard Greg’s assistant asking me to call Greg. So I go ‘Wow, this is sad.’ I thought I was free and clear because I didn’t get a call but I did, just didn’t pick it up.
I called Greg and we had a great conversation. I said I was going to let him off the hook because I already knew which he wanted to tell me so I make it easy for both of us. And he couldn’t have been nicer about it. He sang my praises, he said the reason they were doing it was because so many people loved the character and it would mean nothing if the audience didn’t have something vested in it. And he began to tell me a little bit of the story before he told me it was a working script. And it was actually collaborative. He asked if there was anything I thought they should do. He said the one thing they were wrestling with was should they explain how he got the scar. My initial response was no, the more mystery the better and I’m even pissed off that you never even mentioned his name. Oh he said well you have a name. You definitely have a name.
As for the scar, I called Greg back, and he and Eric Mountain, the writer of the episode, were on the line with me and they told me they had created the backstory of how I had killed my own father and that’s how Scarface ended up in the boy’s home. He abused my mother and I had taken his life which was sort of similar to Enrico’s situation. I said it would be kind of cool if he got the scar when he was killing his dad. The one good thing he’d done in his life, is the thing that scarred him for life. So they put that in the script. There were one or two other things that came up in our talking either that day or in the process of shooting the episode that was kind of worked into the shooting draft. So it was very collaborative and I thought that was great. It was obviously a very sad day, because it was a job I enjoyed very much, and a character I enjoyed very much. It’s always sad to see a long running job go away that you enjoyed. I enjoyed everything about the show, to the crew, to the producers, to the fellow actors. I couldn’t make a single complaint about it. Some of the best fun I’ve ever had.
That was my next question actually. What did you like in general about working on the set? You already talked about Jim and Michael and how well everyone gets along. But were there any special moments that stand out for you in any of the episodes that you can share?
There’s too many, too many beautiful cinematic moments that they caught. Going back to the first season, blowing up the car with Richard Lewis and he crafted this beautiful shot of me rolling my window up and seeing the reflection of the flames on the glass. It’s a blast to do what we get to do. It’s just fun to have very talented old kids playing. That goes to every member of the crew. The crew on the show is basically making a third of a feature film every 10 days. That’s the level of production that they are working with the stunts, with the special effects, with so much that they knock off every episode. I’m always in awe at how hard they work and how well they get it done. So being a part of that was just a blast. Go team kind of thing. There was always that sense on set. There was always a real camaraderie. Not that there aren’t petty things here and there. I’m sure there are all kinds of gossip that I’m either unaware of or not going to mention, but nothing to sour the experience. It was just a pleasant time all the way around. You’re running around with guns, shooting things and fighting and nobody’s getting hurt, it’s great. It’s like being a kid playing cops and robbers with a little adult sauce on it. It wasn’t going to work it was going to play in every sense of the word, every day.
Nice! So of the episodes you were in, which ones were your favorites and which the hardest to do?
Well hardest was obviously the last one. The last one might actually be my favorite too just because it was one of the few times I got to act, act as opposed to just having a moment and I had many good moments. I enjoyed the first episode I was in and I enjoyed the last one. I had a very good time with Detective Walter Dang [Pretenders] where I was running around in the suit carrying a big, big, big gun (thanks to Ashley Gable the writer). That one I enjoyed very much. That was a fun episode. The drama queen in me was not sated by that as much as the last episode but it was a lot of fun.
Fans wanted me to ask if there was ever a POI convention if you’d be interested in attending.
Oh yeah, I’d be happy to do that. That would be great. To be honest I was quietly campaigning to go to Comic con. I didn’t actually call Greg and ask if I could go, just playing coy waiting for them to ask but it didn’t happen.
So what’s in your future now? I know you were recently on ELEMENTARY but do you have anything else in the works?
I do have an independent movie called ALTO. It’s kind of a lesbian coming-of-age story. Diana DeGarmo is the lead. I play her dad and my ex-wife is played by Annabella Sciorra. It’s a very funny story. I think the line is ‘coming out is hard but coming out to the mob is funny.’ So it’s a lesbian mob comedy, if that makes sense. I have seen bits and pieces of the cut along the way. I think they finalized it and it’s going out to market now. So we’ll see who, what, when and if they pick it up. So that’s coming. That’s it right now. I’ve got a couple irons in the fire but no firm offers so I don’t want to jinx anything by talking too soon. But that’s it. It’s kind of the dead season now until Sundance time.
Any final comments or messages you want to say to the fans?
I love the Irrelevants. That’s one of the other joys of working the show. It’s such a passionate and well informed, intelligent fan base. I’m kind of stunned by the normalcy of everybody, wacky as we all are, and the passion and the intelligence of the Irrelevants. One of the great things about shooting that last episode was that it was right after Comic Con, and there were a bunch of fans in town from everywhere, from Japan, from Estonia, from France, from Brooklyn. And they like to visit the set. So the day we were shooting at the boys home they were all kind of camped out across the street from this great old Catholic school we were shooting in. I got to go across the street and interact, take pictures and shake hands and laugh and make jokes. They mentioned a couple of my bigger fans on Twitter. It was like old home week. Even though we really only know each other from tweeting. That’s been one of the joys of being involved with this television series. The fan base is just out of this world.
Funny thing, when Jim, Enrico and I were standing on the outside steps of the school, the fans were across the street. They were just watching and taking pictures, many of which ended up on Twitter and Tumblr. Enrico is a little more standoffish because he’s not as social network savvy, not really in there with the fans as much as I am, and Jim is not at all. But he [Jim] knew the fans and told Enrico these are good people and its okay. He encouraged us to engage with them on a shaking hand basis because Jim knows how tremendous these people are. It’s very obvious that everybody really appreciates the fan base.
Well, we’re all hoping we get a season five.
I imagine it’s going to happen.
The only sad thing is that this is not a sci-fi show, so once people die you can’t get them back.
Except for flashbacks. I was pitching the idea of coming back as a cyborg now working for Samaritan. They’ve reprogrammed me. I’m half man half robot and I’m hunting Team Machine. And then I get to Elias and I can’t kill him, I short-circuit. (Laughs)
The big question now is about Sameen right? Whether Sarah is coming back? I actually thought when I found out he [Greg] was making a call, I actually thought it might be Sameen because I’d heard rumors on set that she was going to have to leave the show because she was pregnant. It wasn’t common knowledge that she was pregnant with twins but it was known. So I thought maybe it was Sameen and that I was the one that was going to kill her. That’s what was going on in my mind. Until I realized he was calling me. But it was kind of cool the way they handled it because you got the emotional payoff that she’s dead, but there’s no body. I could say the same thing about Scarface. (Laughs)
So true! Well they have killed off a number people and fans haven’t liked it so maybe they’ve decided to leave everything open ended now so they can always bring them back if they want to. 🙂
Also with Shaw, I think I get some sense of divide about her character, but I guess she did have a passionate following. I guess they thought why say goodbye when there is a possibility she might return at some later date.
In some interviews she said she wanted to take a number of years off from acting to be a mom and by the time she’s ready to come back, the show my not be on the air so who knows what will happen.
Yeah exactly. But with the work that she does on the show, as physically active as she was, it’s not even a matter of hiding the pregnancy; it’s a matter of having a safe pregnancy. And I understand entirely her desire to be with the kids. That’s why I’m sort of a stay-at-home dad. My wife is the person who works every day. I work when I work and we have to juggle when I do work. But I had the fortune really of raising my sons from the time they were a year-old. I’m still the primary caretaker. So I understand the desire to be home with your kids, to be the parent, to be a presence that’s there all the time and not just showing up after a 12 – 16 hour day of shooting, especially when they are so precious. So I actually applaud her for her choice.
That’s the time that’s very informative emotionally for children. I think that’s when they get their sense of love and being loved, self-worth. I think it’s really a lot easier for mom or dad to do that than a nanny, no matter how good the nanny is. That human bond is irreplaceable, so I really applaud her. This is more important.
I totally agree! Thank you again for doing the interview with me. I appreciate your time. It was just great talking to you.
The pleasure was all mine. Thanks for telling our story.
So ended an absolutely wonderful interview. Many thanks again to David for taking the time from his busy schedule to talk with me.
You can follow David on his Twitter, Face Book and Tumblr accounts by clicking the links below.
Twitter: David Valcin
FaceBook: David Valcin | Facebook
Tumblr: David Valcin | Tumblr
Person of Interest – Season 4 Episode 9 – Departure of Scarface (YT19O7))
Person Of Interest – Season 3 Episode 10 – Simmons Dies (mgw1122)
David Valcin Just For Yuks- Eddie Fairbanks
David Valcin: POIScarface Photo Collage – The Devil You Know
Documented in pictures the experience of filming my last episode of POI (from 9/26/14 till the final shoot on 10/30/14 & including the final day of ADR .
Anthony “Scarface” Marconi – Bittersweet Symphony (kronos251)
A small tribute to a great character, “Scarface”, Elias’ friend, ally, brother. Incredibly played by David Valcin. Song: The Verve – Bittersweet Symphony