Reza Diako, Currently in the 4th Season of "The Chosen"
Reza Diako may just be 31 years old, but his wisdom is that of someone who has lived many lives. His conversation with PhotoBook is one so inspiring, you’ll want to come back to it time and time again. If that’s not enough, you can also catch him on the TV show, The Chosen where he plays the Apostle Philip. Currently streaming its 4th season, The Chosen follows the life of Jesus Christ in a way that can appeal to anyone, regardless of religion, and as Diako put it, “without preaching or pushing a fundamentalist religious sermon.” He’s also starred in hit movies and TV shows like The Diplomat, The Covenant, The Beekeeper, and The Persian Version.
Born in Switzerland before moving to Iran, then Vienna, and finally London, Diako actually studied psychology and went to medical school prior to pivoting to a career in drama and acting. Perhaps he actually has lived many lives, and perhaps that's why he’s so insightful– not only in conversation, but also as an actor. He approaches his roles with honesty and tells stories in the way that they deserve to be told. In a world where so much of history and so many narratives are skewed to be more digestible truths, it’s important that we have actors like Diako who are mindful with their choices in front of the camera, but also beyond it with the messages they choose to share with the platforms provided to them.
You star in The Chosen as Philip, one of Jesus’ Twelve Apostles. In the New Testament, Jesus tests Philip when he asks him how to feed the 5,000 people. When is a time in your career or life that you felt tested?
I agree that the big journey Philip and the other disciples go through is one of patience, endurance, and steadfast faith in something greater being around the corner despite it feeling impossible or painful at times.
I have been very blessed in many ways in my life, and I am extremely grateful for it. Having said that, of course, there is no growth without resistance and challenges. One major test that changed me significantly would have been the time when I originally studied psychology in London and went to medical school in Bristol in hopes of becoming a psychiatrist and following my dream of setting up a therapy center. Weirdly, despite my efforts and persistence, God and the Universe were showing me that there was a different plan for me. I got quite ill and had to take a pause from my studies. This is when acting serendipitously came along and pretty much saved my life, offering a diagonal path to follow towards the same dreams. It took a bit of courage or maybe madness, but I left medical school to attend drama school in the UK, and the cards unfolded way quicker than expected in my acting career. This taught me that life is not a formula, and you have to give one hundred percent wherever it is in your control, then be prepared to surrender completely to the unknown, allowing intuition and the soul journey to run its course. Also to always lead with trust, faith, and love, while being grateful for the hand you’re dealt. Everything will make sense in the end if you are patient. My psychology and medical studies help me significantly in looking at a character through a more thorough and multidisciplinary lens, starting from the moment the sperm meets the egg, and to work with the same intensity as those night shifts I had in the hospital clinics.
More recently, I have had some challenges with paperwork relating to my ability to work across certain parts of the world. That has been extremely tough and excruciatingly difficult, as I have had to let go of seven or eight dream projects and roles that were kindly offered to me. Again, I approached this test with what I have learned from life, that when things don’t happen as you hope, if you can honestly say to yourself that you did everything in your power towards achieving the goal, then there is no doubt that a bigger and deeper journey is at play. You must keep your eyes and heart open to receiving whatever comes.
So, overall, I guess what I now say is, work extremely hard but also always keep a hopeful gaze towards the unknown horizon!
The Chosen is on its fourth season, with more to come. What do you think is the main reason for the show's longevity, especially during a time when many shows get canceled after a season or two.
Yes! I hate when some of my favorite shows get canceled!
I have been a big fan of The Chosen since it premiered. I am amazed by how it has grown. I think there are several factors contributing to this. One, is that I believe people today are starving for shows that point them towards the maximum potential of humanity and inspire them to dare to be more than just where they are comfortably, in their present moment. A sort of cry for taking responsibility and “bearing your cross” is highly in demand when we are facing so much polarization and superficial categorical games and blames.
Moreover, the show, run by Dallas’ incredible leadership, seems to be intending to bring to life the historical journey of Jesus through the lens of The Disciples and the people of the time, but without preaching or pushing a fundamentalist religious sermon. I think this is wonderful because it makes the story of Jesus incredibly inclusive and available to speak to any audience member from any background, culture, or religion, whether they take the story as absolute historical truth, or symbolically as a show with deep messages. I think that is a very cool aspect of this show!
Thirdly, I felt a heartbeat in this show when I watched it way back, and it only became even more viscerally palpable when I joined the team on set for Season 4. Everyone from the electrician and catering to the cast, feel they are part of something bigger than themselves. Some of the team has traveled from across the country just to work on the show. It is a genuine family, and the fans are the biggest part! The fans sometimes work as extras and when they do, their spirit and heart and unconditional love is felt in each and every one of them. Without them, none of this great success would be possible and I can never thank them enough!
Saint Philip is known to be the patron saint of hatters, pastry chefs, and bakers. If you were to be named a saint, what would you be a patron of?
That is the best question ever!
Hmm... I think if I answer this question formally, I will say a patron of children and adolescent’s mental health. I think one thing I have noticed from my travels is that every young person goes through a form of trauma either from their family, school, or culture. Mostly they are taught to or have no choice but to shut up and just get on with it and repress the pain, and then the problems start to reveal themselves in adulthood. I would love a world where more people can choose to love the child patiently and give them the space to express their pains and learn that their true, complex, messy self is not only acceptable, but necessary for the survival of a better, kinder, and more loving world.
Less seriously, I am also an avid reader and lover of piano music, so maybe the patron of books, or pianos. Or maybe a patron for natural functional strength and health.
The Chosen is set against the backdrop of Roman oppression in first century Israel. What’s your Roman Empire (something you think about very often)?
Well, this is where it is interesting that humanity does not learn from the mistakes of history. Or perhaps more accurately, the dark shadow part of humanity resides in all of us, and one way or another finds its way to creep back into the mix of things.
Sadly, the current regime known as the Islamic Republic of Iran is a pretty solid example of dictatorship and total inhumane oppression of people. I think it is highly likely that the atrocities that the Iranian government does behind the scenes and without any accountability to anyone, gets pretty close to an oppressive Roman Empire. I have Iranian heritage, so of course it is impossible not to think about or be affected by it. The sheer helplessness of the young, brave, Iranian people, putting their lives on the line to fight the oppressive government, and their cries and murderous deaths not even getting heard or aired by the rest of the world due to the government cutting the internet when they strike, is quite sickening.
There is hardly any positive angle on that, except that the close proximity I have experienced with that type of pain, helps me take the responsibility extremely seriously when serving stories and characters undergoing this type of sociopolitical helpless oppression, and perhaps it gives me a more visceral experience to draw from. I think this is quite important, because stories of human oppression only help when they are revealed with a degree of raw authenticity to the viewer, so that they can maybe encourage a certain kind of reflection that can raise people to their feet and encourage positive action.
If by some chance this question is referring to the fantastic TikTok trend pertaining to the Roman Empire, aka what I think about a lot, then I think my Roman Empire is all things related to my character and script, when I am working, and then food, love, and surviving practical aspects of life when I am not working.
You starred in The Covenant, directed by Guy Ritchie. What was it like being on set with him? Did anything stick with you after taking his direction?
Guy freed me as an actor. He is obsessed with authentic depictions of every aspect of the story, I feel. He is not precious about his scripts or ideas of something as much as looking to capture the raw truth of it all. I love this too! We all do an extreme amount of research and preparation and then let it go and discover it together as a team on the day. I think the level of trust he has in his actors to bring their instincts in and improvise and co-create was a big learning point for me. And to not be afraid of change, and instead surrender to the unknown artistic journey of discovery. I think after working with him, I feel braver and freer as an actor.
I also loved the team of The Covenant. It was a very important story about Afghanistan, and I loved that it shed light on the complex nuances of a very difficult and complex war. My character, ‘Haadee,’ was the guide of the group. It was very eye opening as I prepared and learned about the entire history and geography of Afghanistan, and some of the most beautiful aspects of their culture and hospitality, even towards the US and UK soldiers. I was deeply moved by the courage and faith that the ordinary Afghan people possess every day, most of them having lost a loved one due to the never ending war in that area, while still able to puff up their chests and smile as they step onto the Afghan roads knowing they could be a step away from hitting an IED or a rocket landing on their car. It gave me a huge level of respect for Afghanistan and its people after doing this film.
Each director’s films have their own signature style– which director’s cinematic universe would you want to live in?
Oh wow! I mean I love so many! I love directors who use absurdity or a simple concept to hit at very complex aspects of humanity. My psychology and Jungian background make me love the directors and cinematic worlds that use symbolism and bigger more ineffable subjects to tackle through subtlety, nuance and play. Yorgos Lanthimos! He is so brave and bold at exploring very archetypal human problems. Paul Thomas Anderson does the same.
I also absolutely adore Charlie Kaufman, Thomas Vinterberg, Lars von Trier, Ari Aster, Spike Lee, Robert Eggers, Dan Fogelman, Janus Metz, Leos Carax, Yaron Zilberman, and Jacques Audiard to name a few!
Oh, and the Safdie Brother!! And Pedro Almodóvar, ‘The Skin I Live In’, what a film!
I also love some Iranian filmmakers. It would be a dream to work with Asghar Farhadi, Bahman Ghobadi, Mohsen Makhmalbaf, or Saeed Roustayi.
What was it like shooting for PhotoBook– do photoshoots feel out of your comfort zone, or is it just like taking on any other role?
It was a lovely experience! It is different to my usual work as an actor because I am standing there raw and naked as my ordinary self, so I feel it is harder to justify the lights, glamor and energy of a photo shoot, in the same way that I can when I am acting and get to leave the wonderful camera people be and purely focus on breathing life into the character and serving their journey. At the same time, I feel very grateful for it. It is a privilege to have talented photographers offer their time to capture silly old me, and it was an interesting co-created relationship and experience of trying to capture truth. That part is the same, in a way.
Acting can involve a lot of travel, unstable schedules, and change. What’s something you do that helps keep you grounded, even at your busiest?
It is extremely lonely, actually. I mean you travel to different corners of the world but have to do it alone, especially because sometimes the rest of your colleagues are still on set on your off day or are busy preparing. So, having family and loved ones visit or stay around is a big help for me. When I am working, I am less interested in exploring the surrounding area, and more interested in the world I am working within. For example, for The Covenant we filmed in beautiful sunny Spain, but I was committed to keeping my system acclimated to a warzone in Afghanistan, so my curtains were drawn, and I didn’t go out much. I love immersing myself deeply in the world of the project and honoring it. I tend to travel with stacks of books. I read everything I can get my hands on, all the films or series I watch will be around the topic, and I look for every way to find visceral bridges to my character’s experiences. I love getting lost in that!
I also tailor my workouts towards the character’s physicality, and that is quite fun and grounding to feel the transformation. Yoga and weird body tap exercises are also a must, to keep the system open, and alive, and receptive to life’s wonders. Oh, and of course, music, every character has their own playlists!
If I am trying to remember Reza in the midst of it, playing piano and some singing is usually my go to, or writing a bit of what I call emotional vomit, which some might consider very bad poetry. Oh and of course my therapy sessions. If all that fails, a large Pizza takes me right home!
Growing up you moved around quite a bit, attending different schools in different cities and countries. How has being exposed to so many different cultures influenced the way you choose your projects?
Yes, I moved a lot! I moved from Switzerland where I was born to Iran at age five, then to Vienna at age twelve, and then to London at age fifteen. I attended ten schools in total, including Iranian Islamic schools, a Christian school in Vienna, a Jewish international school, and I had close friends who taught me Korean and Hindi songs along the way. I think this experience gave me exposure to an array of cultures, while also pushing me to look for the commonality where there seems to be differences. Because of this, I love throwing myself at any project or character that at first glance, might seem far away from my comfortable known world and demands me to grow deeply in order to make the necessary connection with it. I don’t care if the character is dark or light in nature, or from a specific background or identity category. I will do the deepest dive it requires to find the bridge and make the handshake at a soul level. I actually prefer characters who are complex and broken and somewhat unresolved for that reason too. The vast cultural experience simply helps me draw from a more diverse and rich pool of experiences to find the common ground issue of the human condition that a particular character is grappling with.
I am incredibly thankful that I can pick up an accent, or even a new language very quickly. I speak and write in Persian and can speak some Spanish and German, which opens me up to interesting projects and characters with those backgrounds. But, because of my adaptability and obsessive linguistic sensitivity, I have also been given opportunities to work in languages that I have not yet learned. For example, I had to learn to speak Arabic in one week for a role and it worked! So yes, this fast learning is super helpful as it allows me to follow in the footsteps of my transformative acting heroes and be available to work on global projects and in languages and accents that I might not speak just yet. Every half year I do an intensive course in a new language, so that I am fully prepared for whenever the relevant work comes knocking. I am just completing my journey towards fluency in French these days.
Did going to so many different schools and having to always make new friends help later on in your career, with meeting and working with new castmates on each set?
Yes and no. I mean since I was five or six, I was quickly familiarized with the constant feeling of being the outsider or other, in a new unknown environment, which maybe involved making peace with being alone and having less anxiety to express my weird original self. I always joke that I feel like Disney’s Stitch. In one of my more difficult schools, my best friend was literally a tree. I think the part that maybe got easier over the years and now helps with castmates on set is that I’ve had to learn to connect with people really fast by being vulnerable, and so I always prefer to be curious and openly get to know the individual’s narrative story and their values rather than hovering around surface level things. Maybe the travels have taught me to be my true self and interested in other’s true selves, and if someone is not interested in that, to simply respect and let them be. And if all that fails, there’s always trees!
And then I guess I have learned that when you build strong connections like that, when you’ve had to then leave and be in different countries, you can still stay in touch and because of the deeper bond, the exchange still stays very meaningful. The downside to that is that it can still get very lonely and sad. You meet such lovely humans on a project and get super close and create lasting memories, and then you have to deal with the pain of saying goodbye each time and missing them. That part never stops being sad and painful.
You have a degree in psychology and a masters in mental health studies. Do you ever try to psychoanalyze your characters to help you better understand them?
That's a funny thought! I don’t know about psychoanalyzing exactly! It is true though that some parts of that knowledge, especially the developmental and psychodynamic side help a great deal. Joseph Campbell’s ideas on ‘The Hero’s Journey’ helps in elevating the experiences of a character in the script into its primal and collectively accessible level; then, Jung’s idea of ‘The Shadow’ (the unknown inner parts of ourselves that we avoid facing), Winnicott’s developmental ideas (like the ‘transition object’, where a child’s favorite toy or object acts as a means of safety to cope with separating from the comfort of the mother), or Klein’s defense mechanisms (where a child splits experiences into all good or all bad, and uses tactics like projecting the bad traits onto another and beating that person down), can all help explore more deeply and add color to what the character’s inner child may have gone through, or in understanding what they are hiding as much as what they are revealing. It's all about finding ways to enrich the inner world.
All that said, I believe that one of the main things about my psychology journey that has been most influential to my acting has been my personal Jungian Depth therapy and analysis. I am a deep advocate for it both in helping with acting and life. Therapy has allowed me to explore all the secret dark corners of my unconscious, somewhat untie the knots and blocks, and subsequently recover the freedom of my playful inner true self. It helped me gain freer access to the full repertoire of human experience and the range of dark and light feelings and instincts that it offers. I think this latter journey is what made me understand more viscerally what acting, or art is truly about. It feels less academic or formulaic, and more about letting go and getting out of one’s own way. For me, it's about daring to bravely play and explore constantly in the chaotic world of unknowns whilst still maintaining a spine of order.
Through your philanthropic work with mental health related causes, is there anything you’ve learned from the people you’ve interacted with that you’d like everyone to know?
I had a therapist who passed away four years ago around this time. She taught me that the best diagnosis is the person’s narrative. You listen to the story, and you will understand that sometimes the things we deem strange about these "complex" patients are their best way to communicate extremely painful experiences through symbolic language.
I worked with young people with autism for almost two years. Some were deemed dangerous because they could significantly injure us or bite us. I was deeply moved by the power of leaning with curiosity and empathy towards their story, but also using the Meisner acting technique (being totally present in the moment and focusing on the other) and keeping a spirit of play towards their symbolic communication and responding organically. When I treated the young people with love and respect, there was hardly any “violence”. I was sad to see that sometimes it was our lack of creativity and the insistence on "hard" science to box everything into “normal” or “symptoms” that lead to some of the young ones experiencing an exacerbation of their problems.
Then, I also worked one on one with people contemplating suicide for quite some time. Due to my Persian language skills, I supported a lot of Iranian refugees. This was heart-wrenching. Going back to what I said about the Roman Empire, I think the only good side was that it gave me a lot of truths to draw from when I depict serious Iranian socio-political stories as an actor, so that I can maybe give a voice to those untold stories. It was also touching to see how when someone is on the brink of taking their own life, the difference can be as simple as a listening ear and holding space for one’s authentic feelings, so one’s hope gets rekindled that they matter, and that they can perhaps go steadily through a metaphorical death instead, and still get the chance to rise from it like a phoenix towards a truer version of themself.
There are so many others. I worked in the National Psychosis Unit in London, and have so many other examples there, and also from my travels in Kenya, and Morocco. The above is only two of the many examples where I have learned that art, love and curious play, have a significant role to play in healing and can indeed save lives.
Instagram: @rezadiako93
CREW CREDITS:
Talent: Reza Diako
PhotoBook Editor-In-Chief: Alison Hernon
PhotoBook Creative Director: Mike Ruiz
Photographer: Ryan West
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
Interview Questions by Caroline Nycek , Contributor, PhotoBook Magazine
RELATED STORIES
