A 'Like Crazy' Conversation With Anton Yelchin

The 22-year-old star of one of the year's most critically lauded love stories talks about tummy troubles and the perils of fame.

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Men'sWeek issue 10/27/2011

Anton Yelchin has a stomach ache.

“I’ve been taking these vitamins, I’m trying to put on weight and I’m taking these supplements and eating cheeseburgers all the time,” the actor explains over dinner at the Smyth Tribeca Hotel in New York. “I’ve just spent the whole day today sh-tting out my ears.”

It is the first thing he says other than a greeting and it feels like a chess move, as if he’s gauging squeamishness or finding a threshold for vulgarity. He’ll be fine, he finally explains, no need to reschedule, let’s get it over with.

At 22, Saint Petersburg, Russia-born Yelchin looks young for his age. He is slight and pale with large, light eyes and dark hair that he claims is receding. (“I’m Russian; all Russians are bald eventually,” he says. “My mother’s bald.” She isn’t.) His parents, Viktor and Irina Korina Yelchin, were celebrated stars of the Leningrad Ice Ballet for 15 years and now live in California, where they moved after Yelchin was born.

“I don’t feel any connection to Russia,” the actor says, though he later extensively lectures about the nation’s propensity for violence, stating, “I have strong feelings about [Russia]. Every Russian is going to have strong feelings about it. One way or another.”

Yelchin attended primary school in Tarzana, Calif., and loves Los Angeles. He has a small, drawn mouth that tightens when he’s uncomfortable. He is precocious but adorable, a thinking man’s kid, all big curious eyes and hollow cheeks. Once seated, he waxes rhapsodic on topics ranging from pornography and gender to film and political theory. He spends the first half of the interview seemingly in character as someone much more jaded and suspicious than himself, as he voices desires to be “a cobbler…a noble profession” or to “get fat, really fat and alienate the viewer by taking fat jokes to an uncomfortable, too-far place. To be a movie terrorist, who just ruins films by ignoring the director and taking over.” He spends a good 20 minutes trying very hard to be unlikable, or at least to be above caring.

Yelchin has been consistently working as an actor since childhood. He starred opposite Anthony Hopkins at age 11 in 2001’s “Hearts of Atlantis,” and spent his adolescence navigating the film industry. He’s appeared in large-budget fare such as “Star Trek” and “Terminator Salvation,” as well as smaller films like “Fierce People” and “Charlie Bartlett.” Last summer, he provided the voice of Clumsy in “The Smurfs.”

His latest film, “Like Crazy” opens Friday. He stars in the tiny-budget, huge-hearted indie love story as Jacob, a devoted romantic in the throes of an obstacle-ridden trans-Atlantic love with co-star Felicity Jones and, in some scenes, a more local one with Jennifer Lawrence. The actors improvised their dialogue with a 52-page outline provided by director Drake Doremus. In a phone conversation, the director explains the process was focused on “emotional beats.”

“We were supposed to have a 30-minute coffee…we ended up staying for three hours,” the director says of his first meeting with Yelchin. “We were just a good match for each other from the start. He was the only actor I met with. He’s delightful, he’s talented, and he’s a really good person.”

“Like Crazy” won the grand jury prize for drama at the Sundance Film Festival in February, and should help Yelchin along on his present upward trajectory, the consequences of which he still seems to be feeling out. When the young actor sighs or sniffs or sneers at a question, it’s easy not to take it personally.

The Anton Yelchin with the irritable digestive tract and the annoyance toward an industry that expects him to tell reporters about the clothes he buys, and the actresses he’s kissed, and the films he likes, is so completely at odds with the Anton Yelchin who arrives 30 minutes early to his photo shoot the next morning that one wonders whether his seamless traverse between this dichotomy of affable and offensive might say more for his acting than anything else.

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