When Armand Assante chooses a project, money, he acknowledges, is a consideration. So is a project's entertainment value. But the quality of the script takes precedence over a film's commercial viability and even the size of his role. Most recently, Assante accepted a relatively small part in the Ridley Scott–directed American Gangster —a classic example of the kind of project the actor is drawn to. The film recounts the rise and fall of Frank Lucas (Denzel Washington), a top Harlem mobster and heroin dealer in the 1970s who is brought down by rogue cop Richie Roberts (Russell Crowe).
That script's subtext is of special interest to Assante, particularly "the insidious power of heroin in our society, which is ongoing," says the intense New York City native. "The violence is rapacious, but the men in charge see themselves as businessmen, not unlike heads of corporations." The characters and their dealings in Gangster are a significant American metaphor, says Assante, who plays Mafioso Dominic Cattano, a composite of many high-profile criminals. The film's subject is fascinating, but so too is the psychology of a figure like Cattano. "The challenge was to make him a real person and avoid the clichés," explains Assante. "There's an added challenge in portraying a man who had no moral qualms about what he was doing." He adds that another reason he wanted to do American Gangster was the chance to work with Scott, "whose movies are always interesting."
American Gangster will likely be a blockbuster at the box office, but Assante is committed to the notion that no matter how successful an actor is, he or she should be open to tackling a range of projects, including the low-budget flick. Indeed, Assante often prefers independent films for their content and original vision, though they require "a high energy level," often more so than mainstream fare, he says. "With independent films—and I've done six this past year—actors may work 70 to 100 hours a week." No one can accuse Assante of laziness: For the 1996 HBO movie Gotti, in which he played the title role, he recalls "gaining 50 pounds for the part and then losing it all in four months for The Odyssey."
Determination defines Assante. When he is not acting, he is an activist for various causes, most pointedly the elimination of land mines. He has visited land-mine sites in Croatia and Angola, raised money for victims, and is working on a documentary, Blind Dragon, about the ongoing repercussions of land-mine disasters. "Land mines in Vietnam and Cambodia are still going off," he says. "Now they're proliferating in Iraq and Afghanistan. Like heroin, they're insidious."
From the outset, performing was in Assante's blood, though initially he was a drummer. "Music came easier for me than acting, which has always been a struggle," he admits. "I'm not a natural actor." He studied at the American Academy of Dramatic Arts, an experience he values because of the fine teachers he encountered. "If you have a great teacher, 'Grapple them unto thy soul with hoops of steel,' " Assante intones, quoting Polonius from Hamlet.
Assante is keenly aware of the presence of abusive acting instructors—and equally cruel directors—who can flex their muscles with impunity at the expense of vulnerable young actors. "An actor should never tolerate abuse or manipulation," Assante asserts. "It's dangerous to the psyche and creative process. Walk away from it. But also commiserate with your fellow actors and confront it. If it's not dealt with, it will fester."
Assante credits his longevity in the business to his theatre background, regionally and on Broadway, where he debuted in 1975 in the short-lived musical Boccaccio. He made his film debut in the 1974 Lords of Flatbush and relocated to Los Angeles at 27. He quickly landed a guest spot on Kojak, which led to more TV and film work. The projects he's most proud of are Sidney Lumet's Q&A, The Mambo Kings, and the independent films California Dreamin' and When Nietzsche Wept. Playing the German philosopher was one of Assante's most challenging roles: Along with grasping Nietzsche's complex philosophies, "I had to bring him to life and not sound as if I were pontificating," he says.
Looking back, Assante says he's had a fruitful career and been able to weather the rough spots. He is, however, concerned about the plight young actors face currently, particularly in the film and TV industry. Today, it's a system "where you can become a star overnight and disappear just as quickly." Adding that the culture of celebrity with its pervasive paparazzi doesn't help, he advises young actors: "Work on your craft, not your persona or aura. That can be turned against you, and if it's only persona you have, you can be quickly replaced. The producers want instant results. The creative process has gone out the window in all aspects of the industry. When you're on a television series, you get a script at 11 at night and a wake-up call at dawn. It's acting without a parachute. But acting is not a bungee jump, and that's what young people don't know."
He can next be seen opposite Ray Liotta and Andy Garcia in the big-screen crime drama La Linea and has joined the cast of the ABC prime-time series October Road. "But 60 to 70 percent of my time is spent looking for good material," Assante says. "I'm reading scripts, but I'm also reading books that may make good scripts. I think people are beginning to realize that I have a behind-the-scenes involvement with many projects—not that I ask for credit," he notes. "That's an exciting new dimension to my work."
He is especially interested in stories from abroad, specifically those "evoking something that has not been evoked before," he says. "After World War II, the new talent came from Italy. Then there was the French New Wave, followed by talent coming out of Russia. In the future—even today—the new work will come from countries to the east: Iraq, Iran, and Afghanistan. They will be creating the mind-blowing films. I want to be part of that energy. If I'm not producing the films, then I want to be a guiding force."