Turturro, who has been a ubiquitous presence in film, TV, and theater for decades, truly seems to be everywhere these days—in an acclaimed production heading for Broadway, in Severance, whose fans eagerly await a fourth season, in the forthcoming climate-change dramedy A Statement from Spotlight director Tom McCarthy, and of course anywhere the Knicks are. With Pickpocket, he could very well land his first Oscar nomination in a career full of performances that have certainly qualified for consideration, from Barton Fink to Quiz Show to more Spike Lee films than any other actor has appeared in.
Read more: John Turturro Gives a Career-Best Performance in The Only Living Pickpocket in New York
Giancarlo Esposito and John Turturro in The Only Living Pickpocket in New York —Courtesy of Sony Pictures ClassicsHarry is a criminal, but he operates by a code. He’s true to his word. He’s loyal to his wife. Do you see him as an antihero?
I just try to play a person. I’ve read about a lot of these guys. They were from broken homes, orphanages. They didn’t have a family, so they formed this little family with other people who didn’t want to hurt people. Even though it is a violation, it was nonviolent. It was like a magic trick. They’re taking something. But there’s a lot of people who pick our pockets every day. And they take our world sometimes.
The city also feels different from decades past because we’re all staring down at our phones instead of looking at each other as we walk down the street.
There's so many people. We're all going somewhere. And there's plenty of people that aren't there. There's a lot of people gone now from all different generations, and you're more and more surrounded by ghosts. In my phone, I don't take people out because maybe I need the number in the afterlife or something. You just understand that there is a clock to our lives, and what you give is also important. It's not just what you take, and I believe in that.
Turturro as Harry and Karina Arroyave as his wife Rosie —Courtesy of Sony Pictures Classics
There’s a wonderful scene where Harry dances to the song “Native New Yorker” for his wife Rosie, who is disabled and non-verbal. Was that improvised?
I like to dance. I studied dance. In my household, everybody was dancing, three boys, my mom was a great dancer. I used to go out dancing to that song. When people are incapacitated, you play music, you sing, you dance. It’s a love scene. Movement, especially when it’s not overly choreographed, brings joy. Even in intense stories, people stop to do things. They stop to eat. They stop to have a laugh.
You and Tatiana Maslany, who’s also in this film, just finished the play Rhinoceros together. Do you like to get back to the theater every once in a while to sort of sharpen the tools?
That’s where I come from. I love the rehearsal process, if it’s a very open one, which we did in Rhinoceros with [director] Diane Paulus. We explored everything. It’s exhausting, I don’t want to do a run for half a year. But I love doing things that young people can come to and afford. It’s real teamwork, and I think it’s kept me fresh for doing film work. It’s humbling, and it’s nerve-racking, and it’s also exhilarating when you’re able to keep your balance.
As a prominent Knicks fan, how are you feeling about this season?
I feel hopeful. I’m not overconfident. It was beautiful how they all coalesced. I treasure being a fan and a season-ticket holder. I’m still soaking it all in. My favorite thing was coming home on the train, everyone just being in shock. It’s great when people come together.
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