Graham Greene

So, this guy? He’s Oneida, straight up. That little detail isn’t just tossed in for flavor—nah, it actually shapes the whole vibe of the story. His background, the way he looks at the world, even how he deals with the messes life throws at him, it all kinda spins out from his heritage. You’ll notice the way he interacts with people—sometimes with this stubborn pride, other times with a sort of quiet patience that’s honestly pretty rare. There’s history behind his choices, you know? It’s not just about where he lives or what he does for a paycheck. His family stories, the old traditions, they’re right there under the surface, nudging him along even when he’s not trying to show it. And when things get tense, that Oneida grit kicks in—he doesn’t back down easy. All these little things add up, making him way more than just a standard character.

Some actors get shoved into the same box, but not this guy. He’s bounced between roles like a pinball—one day he’s an old Jewish dude selling couches on stage, the next he’s channeling the ghost of a black transvestite (yeah, really). He’s thrown on the uniform as both a British and a French soldier, morphing accents and attitudes with zero hesitation. He’s walked the beat as a tough New York cop, slipped into a suit as a lawyer—the whole nine yards. People love to slap the “typecast” label on actors, but honestly, his resume is all over the place. Trying to pin him down to one type just doesn’t stick. He’s done theater, film, probably everything in-between, and every time it’s something different. Typecast? Not even close. He’s basically proof that with range, you don’t have to play the same character twice.