GATEN MATARAZZO – Out of the Upside Down, Into the Unknown

Photographer VIKTORIJA PASHUTA @viktorija_pashuta
Stylist ZOE GOFMAN @zoegofman
Groomer CAT MIGNANO @cam.artistry
Photography Assistant NATE COX @natec.photos
Production Coordinator CASSIDY COCKE @cassidy.ac

Words by Kimberly Haddad

If you haven’t seen Gaten Matarazzo’s face, you’ve either been living under a rock or refusing pop culture altogether. For nearly a decade, he’s been the fast-talking, cap-wearing heart of Stranger Things—better known as Dustin Henderson, the kid who made nerdy cool, slung science like it was slang, and reminded us that friendship (and walkie-talkies) could save the world. Now 22, Matarazzo has grown up alongside the Netflix mega-hit, while also proving his range: a riveting Broadway turn in Sweeney Todd and a sharp comedic left turn in an upcoming Hulu film.

What’s surprising, though, is how little “celebrity” he carries. Talking to him feels less like interviewing one of the most recognizable actors of his generation and more like catching up with a friend—the kind who’ll admit he still stress-laughs through awkward encounters (his very public failed handshake in Japan), who can roast himself mid-sentence, and who tells stories with the kind of warmth that makes you forget you just met. With Stranger Things bowing out, Matarazzo is candid about the nerves that come with letting it go—and just as candid about his vagina-shaped doormat. In short: he’s as unfiltered, cheeky, and endearingly weird as you’d hope. And as he steps into his next chapter, things are only getting stranger— in the best way.

Was there a recent moment that really stopped you in your tracks—like, wow, this is actually my life?
I got to go to Japan recently, and that was really, really cool. I wouldn’t be able to travel as much as I do without having gotten to do what I do for a living—being able to promote the show, that sort of thing. It’s been a real blessing. I remember my buddy and I presented an award and I didn’t know whether to shake the recipient’s hand or not. I left my hand there, but she didn’t go for it— because she just won an award and didn’t have to, which was completely fine—but I was very, very embarrassed about reaching for a handshake that I did not get. And then the thought hit me: Oh God, everyone is going to see that. That’s when I realized, shit, I constantly worry about this stuff.

With Stranger Things winding down, how are you wrapping your head around stepping into this next chapter of your life?
It’s weird because it was such a long process getting here that it doesn’t necessarily feel very climactic. Do you know what I mean? The process of ending a show takes a very long time too, because you wrap up, then of course there’s a big celebration, and there’s always that big moment on the actual day you wrap. But then the next few days were filled with unpacking my place in Atlanta and traveling back to New York and settling in. Then there’s the press tour. It’s kind of gradual, and there’s a lot of overlap between the ending of this chapter and the beginning of another one. But I’m really excited.

This show has been such a huge part of your life, and of pop culture. As it all comes to an end, what’s going through your head about letting it go and moving forward?
I’m nervous for sure—I think everybody is. It’s always been a real blessing and something I’ve tried not to take for granted—the consistency of work and knowing that if other work dries up, I have the next season to fall back on. Now, I’m faced with, okay, there’s not a next one, so it really is a matter of figuring out how you want to represent yourself and your body of work.
  

This has also been a blessing in itself because most people don’t have the opportunity to pick what it is they want to do, or say no to things that come through, or have the freedom to figure out how they want to challenge themselves. These are all good problems to have, but they’re still very nerve-wracking. I think it was pretty clear for a long time—especially with how this industry works—that everything is always temporary. This wasn’t even something I ever really strived to achieve at any point. It kind of just happened. I’m very grateful for the opportunities that have come of it, but it’s never been the driving force of what I do. I’m looking forward to seeing how I handle the shift. I think it also opens up more freedom to do what I want without as much public pressure. There is always going to be public pressure and that constant thought of I wonder what all these people are going to think. I’ve grown to seek approval because that’s kind of the only way you can book jobs. And when you do it from a young age, when you’re a kid, it cements itself. That’s something I’d like to break out of. Maybe I should do some really wacky things that are not very good, just to desensitize myself and jump into whatever it is I want to do. Maybe that will help me break out of that funk of seeking approval from strangers. I’m excited to figure it out.

This last season is being split into three parts. How do you think that changes the experience for fans—and maybe even for you guys as storytellers?
I think it’s a smart move. I’m sure the mentality behind it is that a lot of people who love this show love to watch it with their people. A lot of families watch together—it’s a big community. There are watch parties, discourse about what’s going to happen next. And when you don’t split up the episode releases, which we usually haven’t, it kind of takes away from the full experience. As exciting as it is to binge everything in one shot, it also kills some of that buzz in the community dialogue, because you just watch it all and move on. Releasing it this way feels strategic, especially around the holidays when families will be home together. It will be a lot of fun. I don’t know how much it will actually affect the storytelling, but I think the release format is a cool middle ground and a good way to wrap up the year. Plus, saving the finale gives it its own flowers—it lets it sit with itself and be presented in a special way.

Is there a behind-the-scenes moment that sticks with you—something funny, surprising, or even a little chaotic—that most people wouldn’t expect?
That’s hard—where do I even begin. I actually got pranked pretty hardcore this year. It’s funny because my least favorite press question is always, what’s the best prank you’ve ever been part of, or who’s the on-set prankster? And I’d never know what to say, because that’s not really our vibe. But this year, I got fucking pranked so hard—over the course of six months! [laughs] Joe [Keery] prank called me as this guy, and I thought it was just a scam caller. So, I decided to mess with him. I thought I was messing with a scammer trying to get money out of me—but it was Joe, stringing me along for a very long time. I really, truly got got—to a very embarrassing extent. It was the most delighted and infuriated I had ever been. But honestly, I am honored. [laughs]

You’ve spent nearly a decade on Stranger Things. What did being part of this show teach you—about acting, the industry, or even yourself ?
I think it’s like the best school I could have asked for. I am really lucky to have been put in a room with people who have years of experience under their belt. These are people with incredible leadership qualities who show you the ropes without really meaning to, as to how a set operates. That was the biggest thing. I have been acting since I was seven, but I didn’t really know the ins and outs of filmmaking in any capacity—not up until I showed up on that set. And I don’t think any of us really did. Most of the kids there were all new to it, and it was comforting to be in a space like that. It was the best tool for learning, to be around people my age and see them grow—and grow beside them—not just as actors, but as people and members of the industry who I believe are going to do big things. I miss them already. I never actively intended on becoming a part of something like this, but it worked. Spending a decade in that space gave me a literacy for this world. It’s a fun skill to have, and knowing what goes into a set gives me such a deeper respect for the tons of people involved in making a show like this. It’s also humbling. I will always know my place, my responsibility, what I have to do when I show up for work. And also, not letting the overwhelming world of it get to you—because if everyone is there, locked in, and doing what they’re supposed to be doing, it will usually go pretty smoothly. I’m really excited to ramp up all of the press for this season because I’ll finally be back in the same room with everyone.

”When you start work and you’re in a room with people who have been doing what you do much longer than you have – especially in the comedy space – you realize you’re not on the same level in any context in terms of how funny they are. It’s the most terrifying thing to come to terms with.”

As someone who has been in the spotlight from such a young age, how do you keep a sense of “normal life” for yourself in the middle of all this?
I think what helps—and maybe hurts—is that it’s all normal because it’s been happening your environment. There really isn’t much of a comparison between experiencing it and not experiencing it. I’ve been acting since I was seven and professionally since I was around nine, so it’s been a pretty steady consistency. I think this question will be easier to answer after this all dies down, which is inevitable.

Are there any genres or types of characters you’re especially eager to explore next?
I just want to play people that I haven’t before. I want to look at something and think, why would they want me to do this?—but fuck it. [laughs] That’s really exciting to me. I don’t know, I’ve always gravitated towards high-energy, explosive projects and roles, but I’d like to try something a little more understated—even though I don’t think that’s where I thrive. I have a really hard time not putting everything out on my sleeve. That could be really fun, but scary. I think there will be a lot of opportunity for that in the theater. I’d love to do more stage work than I have, because really, the only professional stuff I’ve done onstage is musicals. And with musicals, you have no other option but to put everything out on your sleeve.

You’ve been getting rave reviews for your role in Sweeney Todd on Broadway. What felt different about stepping onto a stage every night versus walking onto a film set?
I just feel at home on the stage because it’s where I grew to be comfortable. Weirdly enough, I’ll always feel more at ease there than on a set—I don’t think that will ever change. But that also adds to the challenge of filmmaking. There’s a nuance to it. Acting for film doesn’t come as naturally to me as stage acting does, and sometimes that can be a gift. I think that’s part of the reason I booked Stranger Things. The other big thing I love about theater is the schedule. I love knowing when my day off is, when I’m working, having consistency. In film, you don’t really know what your next two days will look like. It’s always up in the air, and you’re always on your toes.

You’ve got this new Hulu comedy coming up with Sean Giambrone. Right now, it’s being called The Untitled BriTANicK Pizza Movie—is that even actually the title, or just the working title?
That is what it’s called at the moment! [laughs] I doubt that’s the actual title though. I have no idea what they are planning, but it was so much fun. I have not had as much fun working on a set in a very long time.

Comedy is a big shift from what people are used to seeing you in. What was this transition like for you?
Yes, very, very different. What I’ve noticed is that I’ve played comedic parts in non-comedies, and it’s a very different experience to play comedic parts in actual comedies. I don’t know how to explain this. The people who were working on this set have been making comedy for years—a lot of them very good, a lot of them very bad—and so I could never gauge if what I was doing was actually funny because the crew was always so insane, and that was so stressful to me. I don’t know why. Like, in Stranger Things, if I did a bit that didn’t get a laugh, it was okay because ultimately, that wasn’t the point, but when I was working on an actual comedy, I was like, oh God, was that terrible? It took a few weeks to really lock in and understand it all. But that’s just how the process works. With comedy, there’s so much in the edit, so much trust in the directors and their vision. With Nick [Kocher] and Brian [McElhaney], it was so easy to trust because they very much knew what kind of movie they were making. They would consistently pat us on the back and apologize for the insanity. The way the script worked was very fast paced and there wasn’t much room for riffing or improvising. It was very different from anything I’ve done. Also, Sean Giambrone, who is playing opposite of me in the movie, is the glue of it. He is absolutely brilliant. I’ve never met an immediate-set MVP before seeing him. He is one of the most kind-hearted dudes in the world and one of the funniest people I’ve ever met. I’d literally feel so lost without him.

Do you ever feel like you’re naturally funny in real life, but the second you’re asked to be funny, it just…doesn’t land? I know that happens to me—I’ll think I’m funny, but the minute someone expects it, I get awkward as hell. [laughs]
Ha! I mean, I don’t know. Sometimes I just end up saying things that people laugh at and I didn’t mean to be funny. I don’t think I’m necessarily particularly funny in comparison to other actors and that’s really scary. Like, actors who do so much dramatic work are also some of the funniest people I’ve ever talked to in my life. What I think is very fun about the character I’m playing in the pizza movie is that he believes he’s the funniest guy in the room and may not be. When you start work and you’re in a room with people who have been doing what you do much longer than you have—especially in the comedy space—you realize you’re not on the same level in any context in terms of how funny they are. It’s the most terrifying thing to come to terms with.

”Most of the kids there were all new to it, and it was comforting to be in a space like that. It was the best tool for learning, to be around people my age and see them grow- and grow beside them- not just as actors, but as people and members of the industry who I believe are going to do big things.”

Looking back on your journey, what’s something you’ve learned—through both advocacy and living with cleidocranial dysplasia—that you wish more people really understood?
Oh, this is a good question. I think what I’ve always wanted to make public about living with it personally, and knowing people who have it, has already been said. But what I find so frustrating about awareness campaigns, or research into any developmental condition—physical, mental, or anything that is uncomfortable for people to hear about—is that the coverage is so melodramatic. It’s all about tugging at the heartstrings, tears, and look how hard this is. And yes, it is hard. But every time I’ve hung out with people dealing with way worse situations than mine—I have a milder case—I’ve never met a more fun-loving, celebratory group of people. I just really want the love of the community that comes with it to be the front-running voice behind why we are doing this. There is so much to celebrate, so much to love about it and about having it. It’s just a matter of getting consistent care, having a standard of care. It shouldn’t be too much to ask to go to a doctor and not have to tell them what to do. It’s not the fault of the doctor. You can’t expect medical professionals to be well-versed in every single condition, but with the Lasting Smiles Act, we are hoping to release a consensus of care form—basically a list of what to do when a patient with CD walks into your office, how to treat them, or if you’re uncomfortable treating them, where they should go. I would love to see a sign of relief amongst medical professionals and people living with it in terms of receiving care. It’s scary for everyone involved. There needs to be a sense of love.

What’s your go-to comfort food when you need a pick-me-up?
Kraft Mac & Cheese.

What’s the most unusual item you own?
What isn’t unusual that I own? I have a doormat that’s shaped like a vagina and my girlfriend and I love it.

If your life had a theme song right now, what would it be and why?
“Duel of the Fates” from Star Wars.

If you had to describe your journey so far in one sentence, what would it be?
It has been an exhilarating journey full of ups and downs that have been tolerable because I’m around people that I tolerate.

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