Malcolm McDowell On Aging Gracefully, ‘A Clockwork Orange’ At 50 And Interacting With Fans

For English actor Malcolm McDowell, who lives in California, interacting with his audience is crucial.

Returning to the convention stage following pandemic-induced layoff, McDowell, 79, posed for photos, signed memorabilia and greeted fans during a recent appearance at the Days of the Dead convention in Chicago.

“I haven’t seen anybody for so long. What I did is I went on Cameo. And it’s amazing. Because fans really do want to connect with the people they like,” said McDowell in Chicago. “At the end of the day, if it wasn’t for the fans, there would be no career. So I think one has to be aware of that from time to time.”

At work on season two of the CBC’s Son of a Critch, I spoke with Malcolm McDowell about the importance of storytelling, his working class upbringing, the relevance of A Clockwork Orange at 50 and the American experience. A transcript of our conversation, lightly edited for length and clarity, follows below.

Especially after the last few years, what was it like for you being back at a convention like this and interacting with fans?

MALCOLM MCDOWELL: It’s important. I do a few a year. I haven’t seen anybody for so long. What I did is I went on Cameo. And it’s amazing. Because fans really do want to connect with the people they like.

But it’s very important, I think, to interact occasionally with the fans – because, at the end of the day, if it wasn’t for the fans, there would be no career. So I think one has to be aware of that from time to time.

When I’m working, of course, I’m not thinking of fans – you’re just doing the work. You’re so into it that it doesn’t even cross your mind. But then when it’s shown and people see it and they start to react to it… It’s sort of delayed action being in film and television primarily. That’s why I just love the theater. Because you get instant recognition and the warmth of the audience at the end of a play. You can’t beat that. It’s instant. Film is sort of really a delayed reaction to it.

But it’s nice to occasionally say hi. And they really appreciate it – they really do.

A word that I’ve heard used a lot this weekend that I think has become sort of an undervalued thing these days is storytelling. Whether you’re doing voice-over work or taking on a film or television role, how important is storytelling to everything that you do?

MM: Well, it’s everything really. It depends what you’re doing. Every job is different.

I really just go on instinct more than anything else. I don’t think about it too much. Because you can overthink it – and then it becomes rather static. I like to keep it fluid and spontaneous. Because I’ve done it so long that there’s really nothing I haven’t seen. And one builds up a technique over the years whether you like it or not. And it’s really important to try and put that in the background – what one’s learned – and try to do it like you’re saying it for the first time. And that’s it really. That’s all it is.

But the story is important, yes.

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Obviously, it’s harder to come by today in a Hollywood defined by remakes and Marvel movies but under optimal circumstances, when you’re reading a script or looking at a character, what is it in those perfect moments that draws you to a role or a project?

MM: Honestly, there’s no straight answer to that. Because it’s always different. You can read something and know pretty much within ten or fifteen pages whether it speaks to you or not. Sometimes, it can be a thumping great role and you go, “Oh god, it’s like a piece of lead. There’s no way I really want to do this.” Or it could be just one or two scenes and you go, “Yes! Oh yeah, we can have fun with this!” I have got to have fun doing the work. Because if I have fun doing the work, I think it translates to the audience. And there’s a twinkle in the eye.

Of course it all depends on what you’re doing. I’ve been doing comedies on television for the last ten years or more – [Amazon’sAMZN
] Mozart in the Jungle, the rather sophisticated comedies. But they’re for television. Anyway, I love doing comedic work. And I’m going back to do a second season of this Son of a Critch – which I’m thrilled about – in Newfoundland. So it’s Canadian but it’s the producers of Schitt’s Creek. So it’ll come out. It’s really a terrific show. I’m really proud of it. I can’t wait for people in the U.S. to see it.

I was thinking about A Clockwork Orange at 50. And some of those themes – like authoritarianism – are arguably as relevant in the last ten years as ever…

MM: Aren’t they?

What’s it like to ponder that now?

MM: Well, I don’t have to tell you that our democracy is in great peril. It’s shocking. There has to be accountability.

But what’s even more shocking to me is the Supreme Court is now so politicized that now you can’t trust that. The last few years have really undermined everything that we held dear – and that we fought for and that our fathers fought for, you know? And I think that is very frightening and shocking.

I just hope things get better. We’ve got to protect our institutions, that’s for sure. Otherwise, we’re going to lose it all. And we don’t want to do that.

When I look at your background – working in a peanut factory, selling coffee, working in a bar – it’s a very working class upbringing. When fame and fortune and these things start to set in, does having a background like that help keep you grounded?

MM: I’m sure it does. I think it’s more of an English thing though. In England, to be an actor, you are trained in the theater. You are not an actor if you’re in film. I mean, “That’s not acting!” But of course it is. It’s a snobby thing from the English particularly, you know?

But the truth is, it gives you a wonderful grounding and schooling, the theater, for anything else. Because, if you can do a play for two hours live and hold it together, a film is really no problem. It’s no problem. And same for television.

Listen, I’ve been very lucky. I’ve been at it for 60 odd years or something like that. Near 60. Getting up there. 58 maybe? That’s a long time. But now I’m very happy playing grandfathers! And it’s really wild the way it’s gone. I’m playing some incredible parts right now. I’m offered more now than when I was a kid! I mean, it’s insane. Even when I did Clockwork. I’m actually offered more work now. I can’t do all of the work that I’m offered. It’s pretty cool actually.

But I’ve found it’s best to embrace your age. Embrace it and love it. No fillers. No this or that, no tightening bulls—t. Be proud of your lines, they’re part of who you are. And it’s wonderful.