Actor Richard E. Grant dishes on new film ‘The Lesson,’ as he awaits that Quentin Tarantino call

CLEVELAND, Ohio — Ambition, ego and betrayal often make for compelling reality television and film noir.

The latter, in the form of a thriller, is what audiences can expect from new feature film “The Lesson,” which opens Friday at the Cedar-Lee Theatre.

The narrative revolves around aspiring and ambitious young writer Liam (Daryl McCormack), who eagerly accepts a tutoring position at the family estate of his idol, renowned author J.M. Sinclair (Richard E. Grant).

However, the lines between master and protégé quickly blur.

A character actor with leading-man charm, Grant is known for decades of memorable roles in film (“Henry & June,” “The Player,” “Gosford Park,” “Star Wars: The Rise of Skywalker”) and television (“Dr. Who,” “Girls,” “Downton Abbey,” “Game of Thrones,” “Loki”).

We recently caught up with the Academy Award-nominated actor to discuss the lessons he took from, well, “The Lesson,” why he never watches his films and a shameless appeal to Quentin Tarantino.

Hello, Richard. Congrats on “The Lesson.” What initially appealed to you about portraying the irascible J.M. Sinclair.

He’s so egocentric and so self-assured and successful, then you discover he’s a hollow man facing writer’s block. His family has imploded after the suicide of his teenage son. I think somebody who is falling from grace and entitlement is always riveting to watch. As we see politicians on a daily basis plunging down — or hoping they will plunge down and feeling as though there is justice out there — that is something that’s visceral and the people respond to, so I thought that this was a role that had all of that.

Throughout your career, you’ve been in rooms with big egos. Did you recognize Sinclair from your experiences?

Oh, most definitely. People who are very entitled and used to sucking up all of the oxygen in a room. When their ego gets punctured — especially if they’ve been abusive towards other people or contemptuous, which Sinclair is on a regular basis, especially to his family and everybody — there is a feeling of justice.

Was it difficult to make Sinclair a sympathetic character?

Whereas real-life parallels what you do in a movie, my wife of 38 years died six months before we started shooting. So doing a movie that was essentially a chamber piece set in one house with four characters isolated in their grief and unspoken blame is exactly what I was experiencing in real life. That’s also what the character Sinclair is in at that point — essentially the feeling of who am I, what am I and what is my self-worth? That’s part and parcel of playing that part. Then towards the end, you find out that his creative well is dry. That he is not the grand man that he’d like to believe he is. That’s very human and vulnerable.

Considering the film includes many twists and turns, what surprised you the most upon viewing?

Oh, I haven’t seen it.

Is that just due to scheduling or is it a Richard E. Grant rule?

I went to a rough cut of the first film I was ever in 1987 called “Withnail and I.” I was so horrified by what I saw, I offered the producers my salary back and I apologized. I said, “This is the worst thing. I’m so sorry.” They disagreed with me so I realized then and there that you are not capable of being objective about something. The majority of actors I know find it very difficult to watch themselves. I think the equivalent is if you ask people do they like listening to themselves on a recording, they say, “Oh, God no. I hate the sound of my voice.” It’s exactly the same except you not only got your voice but you’ve got what you look like as well. So, yeah, it’s a long-winded answer to your short question — what did you think of the final result? I haven’t seen it.

Considering your career has so many memorable characters and projects — including entering the MCU, as well as appearing in the Star Wars franchise and in “Game of Thrones,” are there any wish-list roles?

Yes, if you can please contact Quentin Tarantino before he retires. I want to play a sleazy lounge lizard — a failed Vegas singer — in a motel on the edge of the city. That’s what I want to play so badly. That’s my dream.

Wow, we love it. Let’s make it happen.

Yeah, I’m counting on you.