Across a remarkable career filled with nuance and emotional precision, Paul Giamatti has long stood as one of Hollywood’s most quietly commanding performers. Whether playing the misanthropic wine aficionado in “Sideways,” the relentless political mind of HBO’s “John Adams,” or the razor-sharp schemer in Showtime’s “Billions,” Giamatti has repeatedly demonstrated a rare ability to excavate the internal lives of complicated men. That gift finds one of its most intimate showcases yet in “Eulogy,” his entry in the seventh season of “Black Mirror,” and arguably one of the anthology’s most meditative episodes.
Written by series creator Charlie Brooker, “Eulogy” casts Giamatti as Philip, a reserved man revisiting a pivotal relationship from his past through a futuristic memory reconstruction service. Guided by a quietly probing memory facilitator (played by Patsy Ferran), Philip is drawn into a digitally rendered simulation—sifting through still photographs and imperfect recollections that manifest as hauntingly lifelike tableaus. While “Black Mirror” often traffics in dystopian scale or techno-paranoia, this episode narrows the lens, asking a more human question: what do we choose to remember, and what are we still trying to forget?
“There’s something archetypal in this guy’s grief and sense of regret,” Giamatti tells Awards Focus. “That journey back into your past to try to deal with things—it felt very universal.” That sense of emotional recognition is what makes his performance so affecting. There’s no dramatic outburst or big reveal—just the slow unraveling of someone who thought they had already moved on. It’s the kind of quiet, internal work that Giamatti does better than almost anyone.
The episode’s surreal staging only deepens its emotional pull. As Philip moves through scenes frozen in time—brought to life by a company of dancers, mimes, and still actors—he is physically surrounded by memories he can’t quite reconcile. “The first time we did it, it was eerie and kind of strange,” Giamatti shares. “These people were remarkable. It made a huge difference having them there.” That eeriness, combined with Brooker’s character-driven script, allows Giamatti to deliver one of his most introspective and affecting performances to date.
For Giamatti, who has expressed a deep affection for science fiction, “Eulogy” also marked a rare foray into a genre he’s long admired. The actor has spoken candidly about wishing he had more chances to work in sci-fi, and his ease within this speculative world suggests untapped potential. Yet even here, it’s not the technology that animates the story—it’s the ache of memory, and the emotional debris we leave behind.
Paul Giamatti spoke with Awards Focus about his connection to the role, the technical and emotional demands of filming “Eulogy,” and why this quietly devastating episode left such a personal mark.
Awards Focus: It’s so nice to meet you—truly an honor. We’ve seen you play sad or lonely characters before, but what specifically drew you to the role of Philip in the “Black Mirror” episode “Eulogy”?
Paul Giamatti: Part of it was the fact that it was “Black Mirror”, which I enjoy a lot—and it was high-level science fiction, which I don’t get to do much of. It felt kind of like a two-person play, very well written. I was also surprised that it didn’t go the techno-horror route that “Black Mirror” often takes. It was tonally different, and I found it really moving. The questions about memory and technology, and the relationship between the two characters, were all very interesting to me. Everything about it appealed to me.
AF: Did the role stretch you in new ways?
Giamatti: Everything stretches me. I don’t find acting easy—so every role feels like a challenge to me.
AF: You make it look easy.
Giamatti: That’s good. That’s what I’m supposed to do. But no, it’s not easy for me.
AF: When you were working with Charlie Brooker, how much of Philip’s backstory was provided to you versus what you created yourself? One moment that struck me—like when he crosses out Carol’s face in a photo—I thought, “I’ve thrown out old photos, but I’ve never done that.”
Giamatti: So much of the story is backstory. Often I’ll build backstory—write things out or think it through—but here, it felt very evocative already. Like you said, I’ve done things like that. All the regret, the guilt… those are unfortunately familiar feelings. I was unconsciously drawing on things from my own life—sometimes consciously, too. There was something almost archetypal about this man’s grief and regret. That journey back into your past to try to deal with things… it felt very universal. I didn’t feel the need to build much beyond that.
AF: Going back to Philip—when you see things like him crossing out Carol’s face—did you interpret that as anger or even something darker? Was he someone you saw as sympathetic?
Giamatti: I didn’t see him as violent—if there’s violence, it’s internal. I didn’t find him unsympathetic. I wasn’t trying to moralize him one way or the other. We’ve all felt anger or resentment toward people—we’re human. Everybody wants to X out a face now and then… some of us just don’t actually do it.
AF: I understand those still photo scenes were filmed with real actors?
Giamatti: All still actors—yeah. They were dancers and mimes, and they had to rehearse a lot. There was a choreographer working with them to get the positions right. We had to block everything carefully, because I had to move through those spaces. The first time we did it, it felt eerie—really strange in a way I didn’t expect. But the people were remarkable. The two actors playing me and Carol weren’t dancers, but they were incredibly expressive just standing there. It made a huge difference having real people there.
AF: Would you use a memory archive device like the one in “Eulogy” if it existed?
Giamatti: Sure. Like I said, I’m not a technophobe. It’s a seductive idea. I’d give it a try just to see what it’s like.
AF: Once you stepped into Philip’s mindset, did it trigger any personal rabbit holes?
Giamatti: Oh yeah, definitely. Mostly unconsciously. I started thinking about all kinds of people—ex-girlfriends, friends who’ve passed away, people from my past. That definitely came up.
AF: You’ve done mostly films and theater. Is acting in something like “Black Mirror”—a single television episode—any different for you?
Giamatti: Not really. I did seven years of a series—“Billions”—and that’s a different kind of stamina. You’re constantly feeding yourself lines and spitting them back out. It can feel mechanical unless you have good actors and writing around you. But the prep itself isn’t different—the demands on your stamina just change.
AF: What’s your own relationship with technology and AI? Are you an early adopter?
Giamatti: Not really. I’m not a technophile, but I wouldn’t call myself a technophobe either. It’s bewildering. It can feel menacing, but that’s often about how people are using it. I won’t be around in a hundred years, which is a shame, because I think that future is going to be fascinating. Even in five years—maybe even one year—it’s going to be interesting. I still hold out hope that once we get past this menacing phase, it might actually do some good. I’m not ready to assume it’ll destroy us all—but maybe it will, I don’t know. I engage with it as much as I need to, but no more than that.
AF: If someone were to build a digital simulation of you, not Philip—what would they get wrong?
Giamatti: That I’m not the people I play. That’s what people would get wrong. It’s tricky with actors—how much of the role is really them? It’s both, of course. I’m drawing on my memories and emotions, but I’m not literally these characters. I don’t think any actor ever really is.
AF: Has any reaction to the episode surprised you?
Giamatti: People really seem to like it, which is great. I’ve had more friends write to me personally about this than usual. They found it moving and said it brought up things from their own lives. That’s really gratifying.
AF: You mentioned earlier that you’re a fan of “Black Mirror.” What are some of your favorite episodes?
Giamatti: The very first one—the pig one—is great. “San Junipero”, “White Bear”—which I don’t know if that’s a popular one, but I found it really harrowing. I also liked the one this season with Chris O’Dowd and Rashida Jones.
AF: “Common People.”
Giamatti: That’s the one. I liked that a lot too. But yeah, the pig one is probably still my favorite. It’s so shocking. It starts the whole thing off with a bang—and really sticks with you.
AF: I often tell people new to the show to maybe skip that one until later!
Giamatti: Yeah, because it’s so creepy and bizarre—but it’s unforgettable.
AF: You said earlier you love sci-fi. Do you wish you got offered more of those roles?
Giamatti: I guess so. I haven’t done a lot of it. I don’t know why some people get certain kinds of roles and others don’t, but yeah, I’d love to do more sci-fi.
AF: If you could play anyone from history—who would it be?
Giamatti: There are so many. I actually had a chance once to play Napoleon in exile—his final exile. It was a comedy, very funny, but it didn’t come together. I still regret that one didn’t happen. I’d love to do that someday.
AF: Congratulations again—it’s a wonderful episode. It really moved me. Thank you for taking the time.
Giamatti: Awesome. Thank you.