Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#5369
of 909177 performers
Top 1%
David Clennon represents the rare performer whose career became more ambitious with every decade — 48 years in, and David is still choosing the harder script.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
David Clennon appears in 18 films in the Nutevio catalogue, and none of them would work the same way without David. The Thing Expanded is the clearest case: a film rated 8.5 by our editors, where the performance carries weight the script only implies.
The recognisable elements are versatility, transformation, quiet performance. Watch two of these films back to back and the method separates from the material — the same instrument, tuned differently for documentary, science fiction, comedy. It is a style built on what is withheld as much as what is played.
Working with Ian Nathan, Gary Walkow, John Francis Daley and others, David Clennon helped set a standard other performers now audition against. Awards bodies have been slower than the work, which is usually the sign of a career built on choices rather than campaigns.
The Thing Expanded (2026) as Self · The Thing (1982) as Palmer · Gone Girl (2014) as Rand Elliott
Career snapshot
Ranked #5369 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
18
1978–2026
Career length
48 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
8.5
The Thing Expanded
Average Nutevio score
6.6
Across catalogue work
Highest IMDb rating
8.5
The Thing Expanded
Most frequent director
Clint Eastwood
2 films together
Longest collaboration
2×
With Clint Eastwood
Most common genre
Drama
14 titles
Average runtime
2h 7m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.9
out of 10
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio metric
Cultural impact and legacy, measured separately from craft — how far the work travelled once it left the cinema.
Nutevio Influence Score
7.0
out of 10
A quieter influence — felt inside the films rather than across the industry.
How far the work travelled past the people who saw it first.
What survives once the release-week conversation has burned off.
Institutional acknowledgement, weighted but never decisive.
Years of chosen, relevant work rather than years merely employed.
Statuettes, read as evidence rather than verdict.
Roles named without needing the film named alongside them.
Directors who wrote parts because this performer existed.
The reading other performers now have to answer.
Actor DNA
A fingerprint derived from the roles themselves — register, range and the kind of film they carry.
The shape of a career
Every performance plotted in time. Hover a point to read the title behind it.
Peak years
Where the scores, the awards and the sheer volume of work agree with each other.
Best decade
1980s
7.3 average MV
The 1980s are where the work and the material meet. Falling in Love, The Right Stuff, Missing — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
1980s
7.3
Across 4 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
1980s
7.3
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
1970s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. Being There, Coming Home.
Most productive era
1980s
4 films
The busiest stretch of the catalogue — volume that reads as appetite rather than availability.
Range, mapped
Genres down the side, decades across the top. Warmer cells mean stronger titles.
| Genre | 1970s | 1980s | 1990s | 2000s | 2010s | 2020s |
|---|---|---|---|---|---|---|
| Drama | 7.02 films | 6.93 films | 6.64 films | 6.62 films | 6.93 films | — |
| Thriller | — | 6.91 film | 6.31 film | 6.41 film | 8.11 film | — |
| Comedy | 7.31 film | — | 6.72 films | — | 6.31 film | — |
| Crime | — | — | 6.71 film | — | 6.21 film | — |
| Romance | 6.71 film | 6.71 film | 6.61 film | — | — | — |
| Horror | — | 8.21 film | — | — | — | — |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
1978Coming Home
Where our catalogue meets this career, as Tim.
Highest rated performance · Career peak · Most recent film
8.5 on the Nutevio scale, the top of the catalogue for this performer. Weighing billing against the film's own quality, this is the point where everything aligned at once. The current state of the argument, as Self.
Our order
Every performance in the catalogue, ordered by Nutevio Score.
Every title
Filter by genre or decade, and compare any two titles side by side.
18 of 18 films
as Palmer
Directed by John Carpenter
as Rand Elliott
Directed by David Fincher
as Thomas Franklin
Directed by Hal Ashby
as Liaison Man
Directed by Philip Kaufman
From the library
Every movie and TV credit stored for this name in the Nutevio catalogue — filter by media, role or sort by rating.
Loading credits…
The defining work
#1
Self
The Thing Expanded (2026)
Performance score8.4
The performance the rest of the career is read through. Self gives David Clennon a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Palmer
The Thing (1982)
Performance score8.2
The Thing asks for something the previous films did not, and gets it. Palmer is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Rand Elliott
Gone Girl (2014)
Performance score7.8
Gone Girl asks for something the previous films did not, and gets it. Rand Elliott is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Thomas Franklin
Being There (1979)
Performance score7.2
Being There asks for something the previous films did not, and gets it. Thomas Franklin is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movieStart here
A guided path through the work, ordered so each film explains the next.
Best entry point
as Self
Start here. The Thing Expanded is the clearest statement of what David Clennon does — accessible, 312 minutes, and rated 8.5 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet David at the most legible performance, then move forward in time so each film reads as a response to the one before it rather than a repetition of it.
Being There (1979)
A deliberate change of key after The Thing Expanded — same instrument, unfamiliar tuning, and the reason range gets mentioned.
The Thing (1982)
A deliberate change of key after Being There — same instrument, unfamiliar tuning, and the reason range gets mentioned.
The Right Stuff (1983)
A deliberate change of key after The Thing — same instrument, unfamiliar tuning, and the reason range gets mentioned.
Gone Girl (2014)
Keeps the drama register of The Right Stuff but asks for a colder reading of it.
Company kept
The directors and performers this career keeps returning to.
Hal Ashby
Director
2 films together
Notably Being There
Costa-Gavras
Director
2 films together
Notably Missing
Clint Eastwood
Director
2 films together
Notably Flags of Our Fathers
John Carpenter
Director
1 film together
Notably The Thing
Philip Kaufman
Director
1 film together
Notably The Right Stuff
Paul Schrader
Director
1 film together
Notably Light Sleeper
Joe Dante
Director
1 film together
Notably Matinee
Stephen Gaghan
Director
1 film together
Notably Syriana
Tom Vaughan
Director
1 film together
Notably Extraordinary Measures
David Fincher
Director
1 film together
Notably Gone Girl
John Francis Daley
Director
1 film together
Notably Vacation
Gary Walkow
Director
1 film together
Notably Lars Shrike Walks The Night
Ian Nathan
Director
1 film together
Notably The Thing Expanded
Behind the camera
Who casts this performer, how often, and what the pairing produces.
Hal Ashby
Director
2 films together · 7.0 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
Being ThereCosta-Gavras
Director
2 films together · 6.6 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
MissingClint Eastwood
Director
2 films together · 6.5 avg MV
A working relationship rather than a booking — 2 films, and the register shifts each time.
Best film together
Flags of Our FathersIan Nathan
Director
1 film together · 8.5 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Thing ExpandedJohn Carpenter
Director
1 film together · 8.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The ThingDavid Fincher
Director
1 film together · 8.1 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Gone GirlPhilip Kaufman
Director
1 film together · 7.2 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
The Right StuffJoe Dante
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
MatineePaul Schrader
Director
1 film together · 6.7 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Light SleeperStephen Gaghan
Director
1 film together · 6.4 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
SyrianaJohn Francis Daley
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
VacationTom Vaughan
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Extraordinary MeasuresGary Walkow
Director
1 film together · 0.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Lars Shrike Walks The NightSix degrees
Follow the thread outward — director, film, co-star, and the film after that.
Categories of our own
Six editorial categories we apply to every performer we cover.
Most rewatchable
The Thing
as Palmer
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
The Right Stuff
as Liaison Man
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
The Thing
as Palmer
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Flags of Our Fathers
as White House Official
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
The Thing Expanded
as Self
If the career had to be argued in a single scene, our editors would pick one from this film and rest the case.
In their films' words
“You can build a whole film around a performer who knows when not to speak. David Clennon has known it for a long time.”
Head to head
Put two careers on the same scale and see where the argument actually sits.
Ours alone
Recognitions handed out by this desk, on criteria no awards body uses.
Career Achievement
Awarded
48 years of relevant work — not merely a long career, but a long career of choices.
Modern Classic Performer
Awarded
Defining performances delivered inside the last twenty-five years, in films already being taught rather than merely remembered.
Drama Legend
Awarded
14 catalogue titles in drama, each one a reference point for the films that followed.
Our desk
Best ending, best opening, best twist and the rest — categories we apply to everyone we cover.
Best ending
The Thing
as Palmer
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
The Thing
as Palmer
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Falling in Love
as Brian Gilmore
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Gone Girl
as Rand Elliott
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
The Thing Expanded
as Self
Images that would survive with the sound switched off.
Best action sequence
Vacation
as Harry Co-Pilot
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Playing by Heart
as Martin (uncredited)
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Gone Girl
as Rand Elliott
The public vote sits below ours on this one, and the direction is the reason for the gap.
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Have your say
Community
Which David Clennon performance holds up best?
Our readers argue about this one. Make your case, or read the ranked debate already in progress.
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Reference
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