Home » Tv Series » Chris Diamantopoulos Spills on Office Infamy, Voicing Mickey, Broadway Exit!

Chris Diamantopoulos Spills on Office Infamy, Voicing Mickey, Broadway Exit!

Photo of author

By Avery Sandridge

Chris Diamantopoulos Spills on Office Infamy, Voicing Mickey, Broadway Exit!

Photo of author

By Avery Sandridge

From Silicon Valley Tough Guy to Clashing with Margo Martindale in The Sticky

Introducing Random Roles, where we chat with actors about the iconic characters that have shaped their careers. Here’s the twist: They won’t know which roles we’ll discuss until the interview starts.

The actor: While Chris Diamantopoulos is widely recognized for his role as the outspoken Russ Hanneman on Silicon Valley, his versatile acting journey has also seen him portray everyman roles and larger-than-life figures like Frank Sinatra. Currently, he stars in Amazon’s heist series The Sticky and lends his voice to the beloved Mickey Mouse, alongside his achievements on Broadway.

Diamantopoulos’s ability to inject a near-mad bravado into his characters, evident from his portrayal of Old Man Parker in A Christmas Story Live! to JQ in Mrs. Davis, is perhaps a reflection of his own hard-earned self-assurance, which has helped him navigate early career rejections and missteps. Despite challenges, his career now boasts multiple Emmy nods and a significant body of work, highlighted this month by his collaboration with the esteemed Margo Martindale.

This interview has been edited and condensed for clarity.


Law & Order (2002)—Chris Wilson”

The Sopranos (2006)— “Jason Barone”

The A.V. Club: You had an early role on Law & Order, joining a long line of Broadway performers in the series. What stands out from that experience?

Chris Diamantopoulos: Jerry Orbach was an absolute gentleman. It was my first job and I was understandably nervous. Jerry, sensing this, was incredibly supportive and reassuring, reminding me of the joy in our work. His presence and professionalism profoundly impacted me, similar to how I regard my friend Bryan Cranston—another actor who genuinely loves the craft and supports his colleagues.

AVC: Your role on The Sopranos seemed to set a precedent for many of your future roles. Can you share more about that experience?

CD: Early in my career, my wife [Becki Newton] and I would often categorize auditions as either promising or “rent-a-jerk” roles, the latter being less desirable but necessary. My character on The Sopranos was a significant part that added depth to the plot, a fortunate opportunity in a high-caliber series. The role was supposed to last one episode over five days but extended to seven weeks, which was a fantastic break for me during a financially lean period.

During one memorable moment, I observed James Gandolfini preparing for a painful scene by pressing a jagged stone into his abdomen to evoke genuine discomfort. Additionally, an amusing yet painful mishap occurred with Tony Sirico, who accidentally struck me with a real lead pipe instead of the prop one during a scene. But, I survived an encounter with Paulie Walnuts!


Behind The Camera: The Unauthorized Story Of Mork & Mindy (2005)— “Robin Williams”

The Kennedys (2011)—Frank Sinatra”

AVC: Portraying icons like Frank Sinatra and Robin Williams, how did you balance paying homage without falling into mere impersonation?

CD: Each role required a different approach. The Unauthorized Story Of Mork & Mindy was a rapid, low-budget project that didn’t allow much preparation. Nevertheless, it was my first chance to dive deep into a character, striving to embody rather than imitate Robin Williams. Despite the project’s unofficial nature, it was a heartfelt tribute to an actor I greatly admired.

The Kennedys presented a different challenge. The producers wanted a portrayal of Frank Sinatra not as the public knew him but as someone deeply entwined with the Kennedys, displaying a lesser-seen side of his personality. It required a subdued performance focused on capturing Sinatra’s essence rather than his more familiar public persona. Working alongside Tom Wilkinson on this project was also incredibly enriching; his generosity and willingness to share his experiences made a lasting impression on me.

AVC: Did you discuss The Full Monty with him?

CD: Indeed, we did. When my wife visited the set, Tom was delighted to learn how we met and even more amused by our unusual first date scenario. His reaction was both humorous and affirming.

AVC: Have you ever faced significant disagreements in your work, or learned something crucial from a challenging experience?

CD: Throughout my career in television, I’ve learned that directors often face immense challenges due to the collaborative nature of the medium, contending with producers, showrunners, and network executives. A director’s vision can frequently be diluted by these interactions, which makes the role of directors like Frederick E.O. Toye, who won an Emmy for Shōgun, all the more impressive. Toye exemplifies how a skilled director navigates these dynamics, ensuring that everyone involved feels included in the creative process while still achieving his vision.

However, I’ve also encountered less favorable situations where the lack of preparedness and professionalism on set was evident. These experiences taught me the importance of adaptability and maintaining a professional demeanor, regardless of the circumstances.


The Three Stooges (2012)—Moe Howard”

AVC: Playing Moe Howard in The Three Stooges was clearly a labor of love for you. Would you go through it all again?

CD: Absolutely, without a second thought. The Stooges were an integral part of my upbringing, and embodying Moe Howard was a dream realized. The project wasn’t lucrative, and it posed significant personal and financial challenges, including the need to manage expenses while supporting my family in multiple cities. Despite these challenges, the opportunity to bring Moe Howard to life for a new audience was incredibly fulfilling.


The Office (2013)—Brian”

Arrested Development (2013)—Marky Bark”

Community (2013)—Reinhold”

AVC: In 2013, you appeared in three major comedy shows: The Office, Arrested Development, and Community. Did this mark a significant moment in your career?

CD: It’s interesting because, at the time, I was so focused on the work itself that I didn’t dwell on the significance of the shows. My goal was to create distinct characters for each show, which provided their own unique challenges and learning opportunities. For example, my time on The Office coincided with the series wrapping up, which involved navigating differing opinions among key cast members and producers about how the show should conclude. This situation taught me a lot about the complexities of production and the importance of adaptability and diplomacy, especially as a guest actor.


Hannibal (2014)— “Clark Ingram”

Silicon Valley (2015-2019)—Russ Hanneman” 

AVC: You played disruptive characters in both Hannibal and Silicon Valley. What do you recall most about these roles?

CD: Being Russ Hanneman on Silicon Valley was a pivotal moment for me. It highlighted the impact of excellent writing and a clear vision from the director and showrunner. This role made me appreciate the collaborative nature of television and how every element, from script to production, plays a crucial role in crafting a successful character and story.

I initially auditioned with outdated material, which could have ended my chances, but persistence led me to re-audition with the correct script, ultimately securing the part. This experience illustrated the importance of adaptability and persistence in the acting profession.


Episodes (2014)— “Castor Sotto”

CD: Appearing on Episodes was another defining moment, thanks to the precise, rhythmically scripted dialogue by David Crane and Jeffrey Klarik. This role taught me the importance of sticking to the script to maintain the intended comedic timing and narrative flow, offering a new perspective on the actor’s contribution to the storytelling process.


Family Guy/American Dad! (2013-2024)—Multiple characters

Beavis & Butt-Head (2017-2023)—Multiple characters

Invincible (2021-2024)—Multiple characters

Mickey Mouse, The Wonderful World Of Mickey Mouse, more—Mickey Mouse”

A Christmas Story Live! (2017)—Old Man Parker”

AVC: Your voice acting career is quite extensive. How does it integrate with your overall career trajectory?

CD: Voice acting has always been a significant part of my career, starting from my early days in theater. It offers a unique opportunity to bring a wide range of characters to life without the physical constraints of on-screen acting. Working in animation allows me to utilize my vocal skills fully, including singing, which has been a passion of mine since my Broadway days. Voicing Mickey Mouse has been particularly rewarding, as it connects me with audiences of all ages and brings joy to many, including my own children.

AVC: What do your kids think about their dad being the voice of Mickey Mouse?

CD: My older children think it’s cool, but my youngest is still puzzled when I switch into Mickey’s voice. However, I avoid performing the voice on camera for young fans, as I believe it’s important for Mickey to remain a magical and mysterious character, separate from my own identity.


On Broadway: The Full Monty (2000)—Ethan Girard”

Les Miserables (2003)—Marius”

Waitress (2017)—Dr. Pomatter” 

AVC: Considering your substantial Broadway background, did you ever think about focusing solely on theater?

CD: While I cherished my time in theater, I always aspired to a broader acting career that included film and TV. My transition from Broadway to Hollywood was driven by a desire to expand my artistic horizons and challenge myself in different media. Although it was a difficult transition, marked by initial setbacks and skepticism from industry peers, it was a necessary step in pursuing the diverse career I envisioned.


Mrs. Davis (2023)— “JQ”

The Boys In The Boat (2023)—Royal Brougham”

Red Notice (2023)—Sotto Voce”

The Sticky (2024-)—Mike Byrne” 

AVC: With a busy year behind you, do you have a favorite recent role?

CD: The Boys In The Boat was exceptionally fulfilling, not only because of the historical setting but also due to the opportunity to work with George Clooney. Similarly, Mrs. Davis was an underappreciated gem, largely due to Betty Gilpin’s phenomenal performance. The show’s innovative approach and the creative freedom it offered were incredibly stimulating, especially when I was encouraged to develop a unique character accent, adding a fresh dimension to my role.

AVC: Mrs. Davis and other roles showcase your willingness to tackle diverse and challenging projects. Do you see any trends in the industry that might limit such opportunities?

CD: While there’s a lot of talk about the industry becoming more risk-averse, I remain optimistic about the future. Creative opportunities continue to arise, albeit in new and evolving formats. The key is to stay adaptable and open to different types of storytelling, which I believe will lead to a new golden era of innovative and compelling content.

AVC: The Sticky seems like a culmination of your diverse roles. How do you view this project in the context of your career?

CD: The Sticky is a testament to the hard work and dedication I’ve put into my craft. It blends various elements of my acting range, from physical comedy to dramatic depth, showcasing my growth as an actor. This project reaffirms my belief that persistence and commitment to the craft are crucial for success in this industry.

Similar Posts

Rate this post
Share this :
See also  Dune Prophecy Shaken: Unanswered Questions Abound!

Leave a Comment