Australian actor Nikolai Egel has diverse experience across stage and screen, helping him to develop to a versatility that means he often spans moments of emotional authenticity, comedy and drama in the same performance. Known for appearing in Neighbours and its spin-off Erinsborough High, Egel has also appeared in TV mini-series Romper Stomper, feature film My Melbourne, and most recently supernatural short The Red Lights of Town. He speaks to Indy Film Library about his process, and what the future holds for the industry.
Thanks for agreeing to talk to me!
To start off with, we should talk about your performance in The Red Lights of Town. What made you want to be a part of the project in the first place?
Hi! Pleasure to speak with you. The director Dia Taylor and I have been close for a while, going back to playing smaller roles in some of the feature films she’s been involved with like Jett and CCTV Nasty (both of which will hopefully be released to the public soon!). We’d been discussing a project to do together and she mentioned one that she’d been tinkering with for a while, and that was also a story she held dear.
When I read it, I was excited at the prospect of playing a character like Donovan, as traditionally most directors would probably have cast me as Rhys – the antagonist of the piece – given my body of work. So, I was excited to repay her faith as well as explore a world that was somewhat new to me!
My review praised the complexity of your delivery. In some respects the film touches on some very dark topics, but you also find a way to bring a relatable levity to things – was it ever difficult to get the balance between moments of raw emotion and more comedic moments?
It’s always a line that needs to be walked very delicately, that’s for sure. I like to think I’m a pretty jovial guy, so the comedic parts just sort of come naturally, being a big lump of a bloke, so it wasn’t something I was actively thinking about. I think the key to Don was grounding the whole character in love for his wife and family, and then the rest just flowed from there.
Were there any particular experiences you drew on to understand Don, during your performance?
It was more an amalgam of a few different things: loss of family; past relationships; and general frustration of being stuck in a position where you’re unable to make a move. Those are all experiences I’m very familiar with. Especially that last one, I think that one is something most actors feel often!
How have audiences responded to your work in the film?
While it hasn’t been released to the public yet – we’re waiting on a couple of film festival announcements first – those who have seen it have been incredibly positive! I’m itching to let everyone see it, because I think we’ve made something very special here.
I’ve spoken to other actors about the difference between stage and screen before, and the emotional toll it takes on them. When it comes to a hard-hitting drama, they usually say they prefer film roles, because they spend less time putting themselves in dark head-spaces, and can turn it off and on a little easier between takes. What have your experiences been between the two?
To be honest, I haven’t done a lot of theatre that goes to dark places! Most of the stage roles I’ve had have been mostly light and comedic. However, I can say that getting into that dark headspace isn’t particularly easy for me, so I try not to turn it off in between takes. If I’m doing a dark scene, then that darkness is mine to sit in until it’s done; it’s a bit like how I live my life. If there’s something unpleasant that needs doing, it’s time to put your head down and go through it. There’s light on the other side of the tunnel, but you’ve gotta sit in that darkness until you reach it.
Do you remember the first time you saw an actor perform, and thought “I could do that”?
One that comes to mind was when I was about 9 or 10, and I watched Demolition Man for the first time! I saw Wesley Snipes as the antagonist, and it was clear he was having so much fun in every scene that I remember thinking ‘Yeah, I’d love to do that someday.’ That’s still my favourite movie of all time, too.
Is there a particular actor, or character you have drawn inspiration from in your career?
Growing up, my Mum would always remind me of how I told people that I wanted to be Tom Cruise! Even today, his energy and intensity are something that inspire me. But more closely than him, I grew up watching a lot of comedy in the 80s and 90s. So, John Candy, Steve Martin, Chevy Chase, Bill Murray – these are all actors I’ve tried to model myself on.
What was your route into the industry from there?
I’m blessed in the fact that in general, I’m a specific type of character actor- so if there’s a production that needs someone like me, I’m in with a good shot! It’s just finding that right project to really show what I can do. I’m lucky in the fact that I’ve been able to get work both in the independent scene and professionally, so it’s really just about staying that course and not being afraid to go big and be memorable when the opportunity presents.
What has the most difficult role of your career been so far?
That’s an interesting question. There’s a couple of answers to this – if we’re talking about emotional range and complexity, it would be either this project, Red Lights of Town, or Erinsborough High! Both explore some difficult subjects and require a delicate touch, and a lot of dedication to knowing exactly who that character is, inside and out. Neighbours was also difficult, but for a whole different set of reasons. Their production style was such a well-oiled machine, you really have to jump into it and step to their rhythm immediately. It’s such a frenetic pace that it doesn’t give a lot of time for rehearsals or a number of takes to get it right: they call action and it’s on you to perform!
What kind of roles would you like to take on more of in the future?
I feel like I haven’t been involved in as much comedy as I’d like! If I’m honest, I think it’s my strongest skill, but I’ve just not done it as much as I’d want to. Either that, or go a bit more into action-based roles! Or even better, a nice blend between the two.
Your IMDb mentions your “working class Australian sensibility”. Acting in the UK is increasingly being criticised as pricing working class performers out of the industry. What has your path been like to get to work as an actor in Australia, and what are the pressures you’re facing currently?
I’ve been blessed to make some core connections in this industry with some really talented people, especially on this project in particular! I have a great agent and team, and the support they provide is invaluable. However, finding work, especially paid work, is getting harder and harder, as most indie productions are either on a micro-budget or self-funded. And most of the roles in the major productions are cast well before a brief is even sent out. I’ve been lucky in the sense that my day job is both flexible with leave, and understands my needs when I’m shooting.
A recently published study by The Conversation found that Australia’s visual arts and craft workers are facing increasingly deteriorating conditions – meaning 82% rely on at least some income from other jobs outside the arts, while many are considering giving up on making a living through art. Considering the impact their work makes on the economy, do you think following Ireland’s example to support artists with a basic income is something Australia should consider?
I do think that would be a fantastic idea; however, it’s only the first step on the path. I think that the paperwork and regulations of the pipeline for government funding of smaller and independent artists and their projects needs to be severely loosened, as there’s such great creativity out there that’s being shelved or overlooked simply because artists can’t afford to get their ideas out there in a professional way!
Do you have any advice for anyone thinking of going into acting?
Getting into WAPA [Western Australian Academy of Performing Arts] or NIDA [National Institute of Dramatic Art] is nice, but it’s not the only path! I never went, and I didn’t seriously begin my acting career until I was 30, so it’s never too late. If you want to act, I’d suggest doing some night classes, and/or a full-time course for a year or so. It doesn’t have to be any of the “prestigious” schools. If you want to act, scour for auditions and go act!
The one piece of advice I would give is that you have to be prepared to possibly lose relationships (especially with people who aren’t in the industry), if you want to do this seriously. There’s a certain mentality in this country about the arts being more of a hobby or a dream, rather than a feasible career. And if you know this is what you want to do, then you have to accept that there will be some people (who you love) that just won’t believe in you. Not because they wish bad things for you, but that the idea of being a successful actor is something so foreign to them that it’s almost delusion. If you know this is what you want, then you have to protect it, because it takes more than just talent.
What’s next for you?
I’ve been writing my own projects of late, because I know that as an actor, I’m a “type” that won’t fit every production! Dia and I are going to be working on a short that I’ve written a bit later this year, and I have a couple of feature films in my back pocket that I’d love to get off the ground – I just need funding… Yep, that old chestnut! I’ve recently won a number of screenwriting awards at film festivals, so I’m going to make my own work that flexes my acting muscles, and let’s see where it goes!