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Raised in New Jersey, Clarke Peters has built a prolific acting career on both sides of the Atlantic since moving to London in the 70s. On TV, he’s juggled prestige projects like The Wire and Treme with appearances in Holby City, Midsomer Murders and Death in Paradise; his films include Three Billboards Outside Ebbing, Missouri and Da 5 Bloods. Now 74, he can be found battling aliens in a New Mexico retirement community for Netflix’s The Boroughs, and narrates the new podcast Founding Fathers: an American Dream, marking the 250th anniversary of the Declaration of Independence.
Founding Fathers doesn’t shrink from the dark side of US history – why do you think it’s important to, as you say on the podcast, “explode historical myths”?
We need to, because sustaining untruths is what I believe has put America in the state it’s in now. You can’t blame people for their behaviour if they’re ignorant of the facts. I’m not saying that I know it all myself, but living outside of America forces you to look at your history in a different way, and see how the world views you.
How would you mark the USA’s scorecard, 250 years in?
I don’t think there’s a scorecard that goes low enough.
Do you love your country?
That’s a very hard question to answer. I love the idea of America, and the pursuit of happiness – I think the preamble to the Constitution is the best idea on planet Earth. Unfortunately, it’s never been fully realised. The arrogance that prevails these days is totally misguided, and we can see how it’s affected all strata of society.
Have you become more British while living over here?
We were in Los Angeles last week, and Oz Scott, a well-known producer and director, said, “Clarke, you’ve finally given up: you said ‘to-mah-toes’ instead of ‘to-may-toes’.” So I think assimilation by association has certainly softened the edges of my American persona.
You work a lot in both countries – how do the acting cultures differ?
The energy in America is different. It’s more agitated. Take theatre: in England, it’s part of your culture. Until around 20 years ago, at least, being an actor in England was mostly a job. Celebrity was part of it, but it wasn’t what motivated you. In America, theatre is a commodity. It’s not your last theatre gig that matters, it’s the last time you were on television. I think that’s telling about a society.
The Boroughs has been dubbed “Stranger Things for seniors”. Are you pleased to see your generation taking centre stage in a sci-fi show?
Absolutely. Working with people your own age, with the same chalkboard of experiences, it makes life a bit easier. When we come off set, we sit down and talk; the first thing the youngsters dois open their phones. There isn’t the same type of spiritual or emotional investment as there is with us old heads. Also, we don’t have the same fear of saying, “I don’t know how to do that.” We recognise we are all still learning.
Bill Pullman’s character, Jack, says, “We’re all trying to figure out what to do with the time we’ve got left.” Have you figured it out?
I have. My plan is to get as close to the earth as I can, pretty much like my character, Art. I resonate with him, because I understand the journey of a man trying to find something greater than himself; to understand some of the mysteries of life. So my plan for the future is to be as much in harmony with nature as I possibly can be.
Two decades on, The Wire is still hailed as the greatest TV show ever made. Do you think it might be?
I don’t think, I know! I didn’t get the chance to really watch it until around 10 years ago, when I felt there was enough distance for me to look at the piece as a whole, instead of at my performance. It’s a very important documentary, as well as a piece of entertainment. The same things that happened in Baltimore, they’re happening all over the world. Western societies are set up to fail and keep the class system as it is.
You wrote the book for the Olivier Award-winning musical Five Guys Named Moe, and you’ve sung on hits including Heatwave’s Boogie Nights and Joan Armatrading’s Love and Affection. It’s been quite a ride...
Yeah. I did something for the Rolling Stones, too. I can’t remember what it was – I got a call to go into Olympic Studios in about 1983. That was how it worked back then – you’d go in, do your thing, get your 50 quid and walk out. But I need to take a look at that, because I’m sure there’s some residuals due somewhere…
What’s the greatest life lesson you’ve learnt?
That there are no coincidences. There is some kind of order to things we should take note of. But also, no one’s helping you breathe, hopefully no one’s making your heart work – these things we take for granted, we should accept with a bit of gratitude. So at 74 years old, I think the greatest lesson I’ve learnt is gratitude.
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