It was during their tenure on the third season of the popular drama series ‘Fargo,’ where they were tasked to maintain law and order, that actors Shea Whigham and Carrie Coon first crossed paths. An instant rapport sparked between the two, leading them to become ‘quick allies,’ as Whigham puts it. A mutual desire to collaborate again in the future was born out of this camaraderie. Both actors have since made their mark as key players in various television ensembles; Whigham has showcased his talent in ‘Boardwalk Empire,’ ‘Homecoming,’ and ‘Perry Mason,’ while Coon has impressed audiences with her performances in ‘The Leftovers’ and ‘The Gilded Age’.
Their roles on the silver screen, though numerous, have often been smaller, save for a few exceptions. Most notably, Coon caught the attention of audiences through her portrayal of one of the three lead characters in ‘His Three Daughters,’ starring alongside Natasha Lyonne and Elizabeth Olsen. A golden opportunity has now presented itself, allowing Coon and Whigham to not only share screen time but also take central stage as main protagonists. The pivotal vehicle is ‘Lake George,’ where the duo leave their ensemble status behind to play the two leading roles.
In ‘Lake George,’ Whigham portrays the character of Don, a claims adjuster who previously took the fall for a nefarious mob boss. As the story unfolds, Don steps out from behind prison walls, eager to claim what he believes is rightfully his. However, his plans hit a roadblock when the mobster orders him to kill his traitorous ex, Phyllis, played by Coon. As, Don, the reluctant executioner, struggles to pull the trigger, he falls under the allure of the audacious and impulsive Phyllis.
The narrative takes the curious pair from Glendale and Goleta, up to Bishop and Mammoth Lakes, as they look to claim what they believe they are due. In an interview, both Coon and Whigham take the opportunity to recollect their journey through the film. Coon admits, ‘Leading roles are rarely given to Shea or me, despite it being something that should be more common. Although we relish being part of an ensemble, these are the parts that we often find ourselves battling for.’
Whigham compliments Coon’s overwhelming charisma, describing her as an unstoppable force, akin to a hurricane. He further adds, ‘She is destined to assume leading roles going forward. There’s an undeniable aura surrounding certain individuals, and she’s one of them.’ Coon humorously brushes off his statement, retorting, ‘I’ve been hearing such predictions for years now.’
Coon admits that through the character of Phyllis, she has been able to find a character closer to her own persona than any previous roles. Contrary to her on-screen portrayals of emotionally intense and high-strung women, she navigates her real-life world with a different rhythm altogether. She shares, ‘It was particularly enjoyable this time around, as I was able to embrace more of my true self in this performance than any other.’
Remembering the moment he handed Coon the script, Whigham knew instantly she would resonate with it. True to his prediction, she reached out to him within an hour to give her assent. Whigham’s character, Don, holds elements of his own personality, too – a man of few words with much to express. He views the film as a deep exploration of guilt, something his character is intimately familiar with. By the end, Don doesn’t achieve his initial cravings but gains exactly what he was in dire need of.
Coon’s approach to her character pays homage to a relentless positivity and quick adaptability to changing circumstances, traits that contrast sharply with her own more cynical nature. She admits, ‘In these turbulent times, I could probably stand to adopt more of Phyllis’s traits.’ Whigham has his own takeaway from the film, revealing that every time he watches it, he derives an different interpretation, but his connection to his character, Don, remains constant.
The actor also notes how his preparation process for roles has evolved over the years. Whigham admits, ‘There was a time when I allowed myself the pleasure of diving into reading and other forms of research that were once the precursors to my acting. Now, my family takes priority, and preparation time is something of a luxury. The basic need is to ensure I’m familiar with my lines. Acting then comes down to the simple, yet profound, act of being present with the other performer.’
Whigham emphasizes the importance of allowing each role to dictate the approach to preparation, regardless of the scale or nature of the project. ‘A script in hand provides a mental playground. I enjoy the freedom of letting my thoughts wander without a specific direction, leading to organic character insights,’ he shares, emphasizing the non-forcing approach. Reflecting on his younger years, he confesses there might have been times when he tried to enforce things.
Recalling an off-script moment during their filming, Whigham explains, ‘There’s a scene where we, as characters, are walking through a forest and forging a connection. We didn’t want it to be clichéd. Something felt missing, though I couldn’t quite put my finger on what it was. But she said, ‘Look at this.’ And on the director’s command, she hastily executed a cartwheel. It was a spontaneous moment, not scripted, but a testament to the authenticity of our work and dynamic.’
Whigham discloses the personal elements of the film, which incorporated real-life locations like his house and his sister’s home, even his vehicle. They both laughingly recount the time when Coon ended up ruining his car’s transmission. Before the shooting commenced, Whigham had promised Coon, ‘Even though we understand your aversion to leaving New York or Chicago for Los Angeles, this journey, stretching all the way through Southern California, will be a homage to its splendor.’
Coon recalls the unique experience of filming a ‘California’ movie as a gift. She shares, ‘My travels have never taken me north, never to Lake George or the famous western filming locations in the hills. When I wasn’t filming, I spent time walking in those hills, reflecting on its movie history and astonishing beauty.’
‘Lake George’ isn’t confined to a single genre but is a fluid combination of noir, road and buddy movie, making it an homage to myriad film styles. The actress states, ‘What I particularly cherish about the film is its birthplace – California – which is the cradle of all these genres. It was a cinematic pilgrimage that gave me an in-depth understanding of the region’s varied landscapes.’
Whigham humorously recalls a time on set when he hinted at Coon’s increasing fondness for the locale, ‘You like it here, don’t you?’ Coon, ever so proud, demurely answered, ‘It’s not so bad…’ However, Whigham affirms that she was indeed smitten by it.