Simon Helberg nearly bypassed a role in “The Big Bang Theory.”
He reflected, “I thought, ‘Thanks, but I don’t need another pilot. I’ve played enough nerds and now I’m working with Aaron Sorkin.’ Smart move.”
At that time, Helberg was involved in “Studio 60 on the Sunset Strip.” He said, “I wasn’t really interested. They had a dark pilot the previous year without our characters. This time, it went well, but I declined to test. Chuck Lorre reached out, so I asked Aaron Sorkin for permission. He humorously replied in an email I still have: ‘You ungrateful piece of… Just kidding’.”
Helberg vividly recalls filming the pilot, which felt distinct from his previous work.
“James Burrows, the sitcom legend, directed. The laughter was continuous, and Burrows had to calm the audience. When I appeared, there was applause. It was surreal: ‘Here’s the guy from ‘Sabrina the Teenage Witch’!’ We were resonating with something people craved, tapping into the zeitgeist.”
Howard Wolowitz quickly gained popularity, partly due to his eccentric fashion.
“I thought, ‘This is over the top,’ but he was flamboyant. Wearing fluorescent jeans means owning the look. I avoid turtlenecks now, but still cover my neck. It’s not pleasant underneath,” Helberg joked, adjusting his scarf.
“He saw himself as the center of attention, the group’s leader, the funny one, and a persistent lothario. That wasn’t me, but playing him was enjoyable due to his confidence.”
The dialogues were entirely scripted.
“People are often surprised when I reveal this, even in Hollywood. They thought those were our jokes, but not a single word was improvised. The writers understood the characters completely.”
Over 12 seasons, Wolowitz transformed from a sleazy character to a caring father.
“Having 12 years to develop a story is rare. Wolowitz started as a sleazy character, and the writers crafted fitting jokes. Later, they brought in female characters to add depth. It was a luxury to have nearly 300 episodes.”
Nonetheless, leaving the show in 2019 felt appropriate.
“It was like finishing high school. I had a wonderful time, but didn’t want to linger. We felt it was time to move on. There was nothing more to explore in this world. We were content.”
At the Series Mania festival in France, Helberg was promoting “The Audacity,” and shared his initial ambition was to become a musician.
“I even delved into jazz, which wasn’t considered cool for someone like me – with braces. But I was likely one of the funnier people in jazz. I always loved making people laugh.”
His musical background aided him in “Florence Foster Jenkins” alongside Meryl Streep. “I exaggerated my piano skills, claiming I could play anything,” he said, but acting was his true passion.
“I suppose I wanted my name in lights, an audience before me, and a scarf around my neck. And free water.”
Reminiscing, he entertained the crowd with a clip from the web series “Derek and Simon: The Show,” co-created with Derek Waters and Bob Odenkirk. It later featured Bill Hader and Zack Galifianakis, focusing on young men in L.A. “trying to find girls and being neurotic.”
“It was like ‘Girls,’ but with guys. ‘Guys’ doesn’t have the same appeal. Bob Odenkirk was our hero, pioneering underground, rock’n’roll comedy, and he had faith in us.”
Although “The Big Bang Theory” leaves a lasting legacy, evident from the packed venue at Series Mania for Helberg’s masterclass, he is now eager to explore new, challenging ventures.
This adventurous spirit led him to misrepresent his French citizenship to secure a role in Leos Carax’s musical “Annette.”
“I said, ‘I’m in the process [of getting French citizenship].’ Who isn’t in a process? During the final interview, the consulate lady mentioned ‘a little man and a black hat.’ I guessed ‘Charlie Chaplin?’ My wife interjected, ‘He’s kidding.’ ‘Napoleon?’ I didn’t know what she meant, but now I have the passport, and I love it.”
In “The Audacity,” he portrays a Silicon Valley genius who, after early success, creates an AI therapy bot for isolated teenagers.
“Even though he neglects his lonely teenage daughter at home,” Helberg noted.
“These characters are flawed yet strive for virtue. However, their selfishness disrupts this. We can relate to their corruption. In Silicon Valley, the pursuit of efficiency often overlooks humanity, leading to depression. Martin ignores his daughter, but perhaps his bot will enhance future father-daughter bonds.”
As the masterclass concluded, Helberg met the man who has dubbed him in French for years.
“I apologize for all the hours you spent learning my voice! And off he goes, to record more lines for ‘The Audacity.’ We keep him in a small room over there.”
