In Dialogue: Eric Nenninger on 'Malcolm' Reboot & More

Eric Nenninger (‘99) has made a career out of roles that mix bravado with wit, from his standout performance as cadet Eric Hanson on Malcolm in the Middle to a broad range of television and film work that showcases his reach. Off-screen, he’s candid, thoughtful, and refreshingly grounded about the realities of the business. Nenninger talks craft, career pivots, and the sustaining joy of simply keeping at it.

The conversation has been edited for length and clarity.

It was very exciting to see your involvement in the upcoming Malcolm in the Middle series. Can you tell us about diving back in?

I got a call last December that they were doing new episodes and that I was being written into it. I was kind of thinking “Yeah, right,” and then put it out of my mind. In March they called back to lock in the dates to shoot in Vancouver, and I couldn’t–couldn’t–believe it. 

They got the camera operators back, and the costume designer, and the director who did something like 30% of the original series.

The feeling on set must have been extraordinary.

It was very surreal. Like a high school reunion, except you get to go to your favorite classes with your favorite people. It was one of the least stressed or nervous experiences I’ve ever had on set. I just wanted to keep working, and keep going. We were laughing and joking, the whole cast and crew was in such a great mood; they’re wonderful people, too. Very kind and hardworking, and extremely talented. It was great seeing the other jobbing actors; we were acting like such goofballs and having such a good time.

The director, Ken Kwapis, didn’t say “Action,” he would say “Go ahead.” It was a gentle way of starting. He’s the only director I’ve ever heard do this, and hearing it again after 20 years was so welcoming. I got to watch a few scenes of Bryan Cranston and Jane Kaczmarek. It was unbelievable; they’re right there, and so detailed.

Working on this one, it had some nostalgia to it.

TV has been your best friend throughout your career. You’ve worked on so many shows with varying styles.

“Malcolm” was the first big thing I did. I was always an over the top actor, and had to learn to tone it down, but for that show, it fit like a glove. I gained experience and confidence from working on it. Whether it’s comedy or drama, I’m there: I want to work on great material. To do something like Generation Kill, it was a different lens to look through, and that character was also so over the top. He was amped up. Those roles have some crossover between them.

What’s wonderful about television is the different genres and tones you get to work on. You get to immerse yourself in the atmosphere. What music are you playing? Is it rock, jazz, pop? You hop in for a couple of days with the band, and get drenched in that tone, and what the music is. “Malcolm” was a heightened single camera comedy with everyone working meticulously, and Generation Kill was an immersive military show; it felt like the cameras weren’t even there, and everything was so detailed and accurate. For six months we immersed ourselves in that, and by the end of it, we had kind of married our personalities to our characters. The camaraderie on screen was real. And I think that’s the idea of it; opening yourself up to being completely immersed in whatever music you’re playing.

How did your theatre training inform screen, and particularly TV, acting?

At The Academy, I was taught a really strong work ethic and to prepare as much as possible before the first rehearsal. On TV, there’s not the same length of rehearsal, so I learned to shorten how much time I need to find what I’m looking for. With theatre, it’s a two hour piece with 20 minute scenes; TV you’re doing one scene that’s six minutes long.

Being camera-ready before you get there is important. I watch the program I’m working on, as many episodes as I can, and get prepared to deliver a final performance. Then I leave about 10% for that spontaneity, but I don’t try to “save it” for the final performance. I’ve worked with some actors who try to save it for the final performance, which helps to not get stuck, but if you can come in prepared, then you have somewhere to go.

Television moves extremely fast; you only get a few takes. If the first take, and the fifth and sixth takes, are something they can use, then there’s more time to work on other things. You’re always on a time crunch.

What shifts in the industry have you observed as you’ve navigated through your career?

The idea that it got easier to get work and then more difficult. When I first started out, there were something like 200 scripted programs you could land a job on, then it ballooned to about 540. With everything–Covid, and the strike contraction–it has gone back down.

I graduated in 1999 and was fortunate enough to get representation and start auditioning. My first agent would page me and I’d pull off the road to give her a call; I remember being on Ventura Boulevard, and calling her from a pay phone. Technology caught up. [Laughs.]

Classic budding actor moment.

You don’t get that moment anymore. 

As technology came into the industry, you gained access to more things. You can make and share your own content. You can follow casting directors and producers. You can see the trend of independent television shows chipping away at the studio structure. Independent TV cuts production costs down significantly, and you can watch them on YouTube, whether a studio buys them or not. That’s something new and exciting.

I can live in St. Louis, Missouri, and still have an acting career, which is unbelievable. I’m auditioning as much as ever now. There are other benefits to self-tapes, but I usually request a live Zoom if I can; I love that energy and a little bit of nervousness. Stakes are a good thing, and having things happen that you didn’t expect is really exciting.

Did you ever think of doing something else?

No. I didn't have a backup plan. I never felt like I wasn’t supposed to do it, which is comforting and scary at the same time. Sometimes I wished there was something else that I wanted to do with my life, at least for a little bit of security. I’m in my 40s and finding new passions. Life offers so many wild twists and turns.

What’s next other than the new “Malcolm” series?

I don't have any projects that are coming out other than that series. I’m constantly auditioning for things, and reaching into the Chicago market; I have an agent out there who does theatre and local projects. I popped up to do a short film a few months back, and I’m teaching and audition coaching; I get to coach actors in Vancouver and Los Angeles.

Closing note? The floor is yours.

Be kind. Everyone you meet is fighting a hard battle.

Check out Eric’s day-to-day acting jam, and more, here. Malcolm in the Middle: Life’s Still Unfair is scheduled for release in spring of 2026.