I’ve rarely mentioned former Marine Adam Driver on Time Now, but Driver is undoubtedly the 21st-century American military veteran who’s made the biggest splash in the world of art and artistic-entertainment. Upon graduation from Juilliard in 2009, Driver quickly obtained plum supporting roles on Broadway and in Hollywood. Leading roles and rave reviews in well-regarded indy films such as Paterson followed, along with star-turns as the villain Kylo Ren in three Star Wars franchise films. In the last half-year, Driver’s candle has burned even brighter, and his presence on the screen become ubiquitous. Over Christmas, for example, I watched Driver in two new films in which he starred. Marriage Story features Driver as a theater director going through a bad divorce, and in The Report Driver plays a Senate staffer investigating America’s use of torture in the Global War on Terror.
Driver’s rise-to-fame has largely occurred without help he might have accrued by leveraging his Marine Corps experience in roles as a military man. In Paterson, for example, Driver plays a reclusive poet who keeps his USMC official picture by his bed, but it’s hard to say otherwise how the military figures in the character’s life. In the quirky-good Logan Lucky, Driver plays a vet bartender who lost an arm in Iraq. The role permits fun scenery-chewing, but the film, which remains somewhat unaccountably obscure, is the exception-that-proves-the-rule:
The Report is especially interesting in regard to the relationship between Driver’s military tour and his film career. The movie’s very much about America’s war against fundamentalist Islamic violence. And yet Driver’s role sussing out the architects of America’s “enhanced interrogation” program depicts him not as a combat man-of-action, but as a bookish policy wonk who, as righteous as his cause may be, is far from the frontlines and the heat of battle.
Driver speaks openly of his regret at leaving the Marines before he had a chance to deploy, so perhaps his self-consciousness about not having seen combat feeds his reserve about portraying movie fighting men. Honestly, though, leaving the Star Wars movies out of it, on screen he doesn’t look like much of either a fighter or a military man, in spite of his flat belly and sturdy frame. His Wikipedia entry reports that Driver learned to dial back his Marine Corps mannerisms and attitudes while training as an actor; at Juilliard he often came on too strong and scared the hell out of people. As a result, in both life and film Driver seems to have developed an aversion to publicly asserting his views about things, as if the only thing worse than being perceived as a blow-hard pontificator is being perceived as a blow-hard pontificator veteran. In his films, Driver often plays cerebral, sensitive men who struggle to find the words to express themselves in the face of fast-talking characters full of confidence and vitality. Driver’s foils alternately tease and berate him mercilessly, with the Driver characters mostly just standing there taking it while–all power to them–remaining true to their own vision of what they want to accomplish. This characteristic mode is on full display in this revealing interview with Howard Stern, where Stern and Robin Quivers give Driver the business about his false starts in life as a vacuum cleaner salesman and Marine infantryman:
Whether what I’m saying about Driver-the-person is true or not, I don’t know, but I’m thinking movie-makers adore his ability to play men who combine self-deprecating awkwardness with drive and talent, and thus beat paths to his door with the juicy film roles they envision for him.
If Driver’s distancing himself from war themes and roles in his movies has been a somewhat curious, if perhaps smart, career move, his achievement as founder of the mil-and-vet-friendly theatrical-arts organization Arts in the Armed Forces (AITAF) demonstrates extremely robust commitment to bringing theater into the lives of military men and women. Founded in 2008 by Driver and his wife Joanne Tucker, AITAF through 2019 was still going strong, with a full slate of scheduled performances and a very healthy list of corporate sponsors. AITAF’s bread-and-butter activity has been staging readings of classic modern theater on military bases, where they perform in front of uniformed audiences and engage in a variety of bridge-building activities linking theater-people and military personnel and families. Two years ago, AITAF began a playwriting competition, called “The Bridge Award,” designed to recognize new work by currently-serving or veteran artists. The 2018 Bridge Award winner was War Stories, by Army Iraq vet Vinnie Lyman. A short bio and description of his play, along with the announcement of its victory by Driver, can be found here. The 2019 Bridge Award winner was Tampons, Dead Dogs, and Other Disposable Things by Shairi Engle, a former air traffic controller in the Air Force. A bio, summary, and Driver’s victory announcement can be found here.
The two winning entries so far have been performed in staged readings, but have not yet been published or fully produced, nor can I find online videos of the readings. I’ll take it on faith that the plays are excellent, but I would love a chance to view them and for them to find larger audiences. I also look forward to more from Driver, especially if he begins writing, producing, and directing his own work. In the Stern interview, Driver reveals with bashful pride that he was an “Expert” marksman in the Marines. So far, he’s shooting expert in his acting career, too, but we haven’t yet been able to judge Driver’s artistic vision in its own clear pure creative form, and it’s time.