Kevin Kane on the Hustle and the Heart
In the fast-paced world of the Law & Order universe, characters often come and go, defined by the badges they wear. But Kevin Kane’s Terry Bruno is different. He’s a man who has already won his battle against the system, returning to the squad room not out of necessity, but by choice. It’s a "nothing to lose" mentality that mirrors the creative philosophy Kane has carried throughout his career.
From his early days training at the William Esper Studio to co-founding The Collective NY, Kane has never been one to wait for permission. Whether he’s balancing the raw scales of Life & Beth alongside long-time collaborator Amy Schumer or taking shrapnel for Captain Benson, Kane’s work is rooted in a decade of "failing" safely on theater stages to ensure he never misses a beat on screen. We caught up with the actor, director, and producer to discuss the benevolence of Bruno, the "fake it till you make it" era of his journey, and why New York’s creative community remains his ultimate engine.
Left:
Coat by Schott NYC
Polo by Rag & Bone
Pants by Levi's
Shoes by Bruno Magli
Right:
Leather Jacket by Schott NYC
T-shirt by John Varvatos
Denim by ALLSAINTS
Sneakers by Primark
You’ve been a part of the Law & Order universe in various roles over the years. What makes Terry Bruno stand out to you compared to other law enforcement characters you’ve played, such as on Chicago P.D.?
There is a benevolence to Bruno that makes him stand out to me and also there’s something really fun about playing a guy with nothing to lose. He's rich now, so he doesn't need the job. He's already been fired and a judge mandated his job back. He shows up every day by choice. He is there to make things right for the victims and will burn anything down to do it. This made him a pariah at his previous precinct and with the brass. But in Benson's SVU, he's found a place where he belongs and a place where he is valued.
The January 8th crossover was teased as a huge turning point for Terry Bruno.
Yeah, that was a fun one. The action, the explosion, and then to also get to work with Maura Tierney, Reid Scott, and David Ajala, they are all such a great hang. I also got to head out with Kelli Giddish. We don't get to do much outside the squad room together. That was fun. But yeah, it was close there, taking some shrapnel for Benson. That's a no-brainer, though, for Bruno. She's the only person who believed in him when the whole department shunned him. Bruno lived, though. Thank God.
On Life & Beth, you serve as an actor, director, and executive producer. How does having that level of creative control change your perspective on your career?
Amy Schumer and I trained as actors together with Bill Esper. He had taught so many heavy hitters over the years and thought our class was particularly strong. He advised us to stick together and make work. When someone like him says that, you listen. From producing our own showcase, to starting a theatre company, to learning how TV works, to producing films and comedy specials, we never had a different mindset. It's just a habit now. We had to do everything ourselves and when we could work with seasoned people, it was all about humility and learning. It was a lot of "fake it till you make it" in some aspects, but in others, like how to do the work, it was sticking strictly to what Bill taught us. It definitely demystified the industry for us. In a great way. Wearing all those hats definitely brings creative control. Some people can't work without it. I really enjoy it. But I also really enjoy just showing up and being an actor.
Left:
Leather by Jacket by Schott NYC
Sweater by Theory
Pants by G-STAR
Anthem Chain Necklace by LAGOS
Right:
Coat by Schott NYC
Polo by Rag & Bone
Pants by Levi's
Shoes by Bruno Magli
Life & Beth balances humor with deeply personal moments. How do you find the right tone when you are overseeing the production as an executive producer?
I think the whirlwind of feelings and circumstances life throws at you was our tone. And I have always locked frequencies with Amy when it comes to trying to filter what the truth of our feelings in those circumstances are. So a lot of people thought the tone was very mixed, but it was intentional. Life can be absurd, tragic, hilarious, heartwarming, and heartbreaking... all in a matter of moments. We were drawing from personal stories, Amy especially, and putting up monumental life moments, speaking to them as honestly as possible. The right tone is telling the truth and often the truth is not suppressing the comedy in the moment.
You’ve worked on major films like Trainwreck and Snatched. Between big-budget movies and long-running TV shows, which environment feels most like “home” to you?
Man. That’s a really tough question because I feel like I’m just getting started. I’ve never felt like I had one lane. So I want to run in all of them. I would hope my resume is starting to show that. I mean...currently, I'm playing with the idea of doing a play in a bar for 40 people.
What is one type of role or project you haven’t tackled yet that is still on your bucket list?
I have had a lot of great opportunities but if I'm being honest I would love to have some more opportunities to do films that are not comedies. T o be able to explore some of the types of dramatic characters I have been able to do on stage, short films, or on television in a feature is very exciting to me.
Between producing high-profile specials and acting in films like Trainwreck, how do you decide which projects you want to step behind the camera for versus those you only want to act in?
I don’t think there was ever a point before or now where I was actively having to make that specific decision, those decisions sort of made themselves. You follow your interests, you surround yourself with people you love and respect and are inspired by and then you start spinning a bunch of plates and one by one the plates will tell you what’s next.
Left:
Leather Jacket by Schott NYC
T-shirt by John Varvatos
Denim by ALLSAINTS
Sneakers by Primark
Right:
Leather by Jacket by Schott NYC
Sweater by Theory
Pants by G-STAR
Anthem Chain Necklace by LAGOS
Your film work includes diverse projects like This Teacher, I Feel Pretty, and Snatched. Is there a specific genre you find most challenging?
The next one. I'm not trying to duck the answer but I don't approach genres that differently in terms of the work. Everything builds on the possibilities you try to realize in each project and then you bring them with you to the next one.
As a founding ensemble member of The Collective NY, you have been a staple in the New York theater scene since 2007. How does that background influence your performance in a fast-paced television environment?
It's a part of me every day. For 10 years we met every Monday night. We put up a lot of work in front of each other in those sessions and worked on a lot of productions. So on Mondays, we put up a safe space to elevate each other and fail and fail again. You don't get to fail on TV; it's too expensive. So being able to readjust on the fly, tweak, and elevate right in the moment only comes from 10 years of flexing that muscle in those sessions.
Given your extensive credits in film, television, and theater, what is it about being based in New York that continues to fuel your creative process?
People. I always say that you struggle to pay New York rent not for what's inside the door but for what and who’s outside it. The people here make you better. You find your community of artists and they lift you up. And when it's quiet or things are going stale, I always find it helps to put your attention off yourself and on that community. It has always restarted the engine for me.
CREW CREDITS:
Talent: Kevin Kane
PhotoBook Editor-In-Chief: Alison Hernon
PhotoBook Creative Director + Photographer + Producer: Mike Ruiz
Fashion Stylist: Alison Hernon at Exclusive Artists
Groomer: Jessi Butterfield at Walter Schupfer Management
Set Design: Jasin Cadic
Assistant to Creative Director: Mia Aponte
Photo Assistant: Dani Sax
Fashion Stylist Interns: Cooper Certain, Malia Leonard
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
Interview by Lily Kalbasz, Contributor, PhotoBook Magazine
Studio: LOFT ELEVEN TEN
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