There’s a particular way Dacre Montgomery answers questions.
He’s not evasive, but circuitous, like someone walking the perimeter of a truth before deciding how to enter it.
He starts somewhere unexpected, drifts into tangents, then loops back with startling precision to land exactly where he meant to go all along. It’s the conversational equivalent of his career: seemingly wandering, but actually following some internal compass invisible to everyone else.
Related Stories
When we meet to discuss “Dead Man’s Wire,” Gus Van Sant’s darkly comedic exploration of America’s media obsession, Montgomery is five days removed from wrapping his directorial debut. He’s been editing
→ Continue reading at Variety
