By Nick Haramis Jonas Ball, above, as Mark David Chapman, in The Killing of John Lennon.

Jonas Ball is new to the whole acting thing. Still, his first starring role, as Mark David Chapman in Andrew Piddington's The Killing of John Lennon (opening today at IFC Center, 323 Sixth Avenue at West 3rd Street, 212.924.7771) isn't exactly light. Arguably, he plays the world's most famous—and reviled—public enemy. Ever. Naysayers are beginning to question the integrity of the project. He spent three years in character, trying not to go all "yes, mother" in the process. Oh, and he's up against Jared Leto in the same role. Below, Ball discusses Lennon, celebrity, and never (never ever) picking up another copy of Catcher in the Rye.

BlackBook: This is an ambitious role for a newcomer.

Jonas Ball: It was a difficult role, not just a one-dimensional stereotype. I had reservations about playing into the stereotypical ideas of "psychosis," which isn't interesting to watch. But that's where the research really helped me. I tried hard to keep my characterization of Chapman grounded in the reality of his life, but there were definitely moments when I would wonder, "Will I get this right?" Mostly, I was excited that someone had given me an opportunity to work.

BB: Had you met with Chapman before filming?

JB: I didn't. I thought about it, but I honestly thought it would fuck my head up a little bit, and not in a good way.

BB: What is your favorite Lennon song?

JB: It's always hard for me to answer these. I can never pick one favorite. I love "Happiness is a Warm Gun" and "I'm So Tired" off The White Album. "Mother" and "Jealous Guy" are two of my favorites from his solo stuff. I guess I like the painful songs.

BB: Are you a Salinger fan?

JB: I am a Salinger fan. I like his books. But I won't be picking up The Catcher in the Rye anytime soon for a re-read.

Ball, above, as Chapman in The Killing of John Lennon. Also, the image that keeps BlackBook staffers awake at night.

BB: Have you been met with much criticism, accusations that you might be glorifying someone who killed for fame?

JB: It's not a Hollywood film, and it doesn't follow a stereotypical structure, which may be hard for some people. Andrew [Piddington, the film’s director] has dealt with criticism and accusations about the film’s integrity far more than I have. The film is not meant to glorify Chapman; it's there to tell the story as accurately and honestly as possible, while still engaging a movie audience. The only spotlight that Chapman can benefit from is the one in his cell in Attica.

BB: Is celebrity something you are after?

JB: Sometimes celebrity comes with the territory. I want to be a good, respectable actor who works. I'm not trying to be famous just to be famous, if that's what you’re asking.

BB: Have you been in touch with either Yoko Ono or Sean Lennon in preparation for the part?

JB: No. I respect their privacy and their loss.

BB: Having worked on the film for over three years, has it been hard to get out of Chapman’s skin?

JB: Actually, the hard part was trying to keep with him for three years. There was a lot of down time in between quick bursts of shooting. I had a hard time negotiating between keeping myself attached to the material, and getting back to some sort of normalcy while we were down. Physically, he wasn't a very healthy person, so I let myself go a bit. I picked up some bad habits—it was good for the role, but nice to finally leave behind. But part of me will always be attached to Lennon and Chapman because of the film.

BB: Have you seen Chapter 27?

JB: I haven't. From what I hear, they are very different films, which is good.

BB: Why do you think this murder in particular brought about—and still continues to bring about—such vehement anger?

JB: That's a really complex question, and one I can't quite answer, but I'll try. Lennon was an icon, an artist, a musician, a humanitarian, and a symbol of so many things for so many people around the world. With the Beatles, by himself, and with Yoko, he touched people’s hearts very deeply as a person and an artist. People grew up with him—they felt like they really knew him, because he exposed himself and didn't stay hidden. He wasn’t an "untouchable celebrity." He put himself out on the streets, and made his life very public. So he lessened that divide between the celebrity and the regular person in people's minds. He tried to be very honest about who he was, his flaws, his ideas. And that was very endearing, for better or worse.

So out of the blue, this nobody guy kills him. I just think the effect he had on people's lives as Lennon the artist and as Lennon "a man of the people" was uniquely strong and visceral, like Lennon himself. So the reaction was and still is very visceral.