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When people get desperate, the knives come out. KNIVES OUT (2019) dir. Rian Johnson

Adam Driver has resting sphinx face.

I don’t say this because of his memorably unusual features, though a long nose, full lips, and paintbrush flick of moles and freckles certainly help give Driver an outsized countenance. It’s more that he has a manner so resolute that when some emotion does manage to escape — whether through a glint in his eyes or the unpredictable undulations of his voice — that transgression can’t help but take you by surprise.

(…) At the Gothams, as Jennifer Lopez presented the nominees for best actor, the show cued a clip from “Marriage Story,” when Driver’s character finally takes seriously the possibility that he will lose custody of his son. “He needs to know I fought for him!” he says, growing more agitated. In front of me, sitting at a table with his colleagues from the film, the real Driver watched the clip and looked impossibly still, his expression pure sphinx.

In person, Driver has the polite but firm bearing of the Marine he was before attending Juilliard, and he can’t really be drawn into saying more just for the sake of it: At one point, after completing a thought, Driver informed me, “That’s the end of the sentence.”

(…) WHEN JENNIFER LOPEZ announced that Driver had won the Gotham for best actor, his mouth fell open for a millisecond, and then he rose, buttoning his suit jacket, and made his way to the stage.

Not much later, “Marriage Story” itself won best film, and Baumbach made his way to the stage, trailed by Dern and Driver. At a certain point in Baumbach’s acceptance speech, he cast about, trying to find the next thing to say, and he looked back at his leading man. Driver was standing against the wall, his hands in his pockets, clearly in no hurry to supplant Baumbach at the microphone. Still, he seemed happy.

“Why are you pressed against the back?” Baumbach asked him. The sphinx just smiled.

Adam Driver Has Put Everything He’s Got Onscreen - NY Times

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