Performer
A performer whose catalogue work here is strong, with the fuller case still to be made.
Nutevio rank
#22172
of 909177 performers
Top 5%
Scott Takeda works on versatility rather than volume, and the catalogue keeps proving that the quieter choice was the correct one.
The essay
Our editors on the work, the patterns and the reason this body of work holds together.
Scott Takeda appears in 8 films in the Nutevio catalogue, and none of them would work the same way without Scott. Gone Girl is the clearest case: a film rated 8.1 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 horror, romance, comedy. It is a style built on what is withheld as much as what is played.
Working with Glenn Ficarra, David Fincher, Jean-Marc Vallée, Scott Takeda 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.
Gone Girl (2014) as Producer · Dallas Buyers Club (2013) as Mr. Yamata · The Tale (2018) as Master of Ceremonies
Career snapshot
Ranked #22172 of 909177 performers tracked in the Nutevio library.
Films in Nutevio
8
2011–2025
Career length
14 yrs
Measured across our catalogue
Academy Awards
—
Unknown
Oscar nominations
—
Unknown
Highest Nutevio score
8.1
Gone Girl
Average Nutevio score
6.9
Across catalogue work
Highest IMDb rating
7.9
Dallas Buyers Club
Most frequent director
Glenn Ficarra
1 film together
Longest collaboration
1×
With Glenn Ficarra
Most common genre
Drama
6 titles
Average runtime
1h 52m
Across catalogue work
Golden Globe wins
—
Unknown
Nutevio metric
Ten weighted categories, applied identically to everyone we cover.
Nutevio Performer Score
6.8
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
6.5
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
2010s
7.1 average MV
The 2010s are where the work and the material meet. The Tale, The Space Between Us, Whiskey Tango Foxtrot — the run our editors reach for first when the argument is about range rather than fame.
Highest average Nutevio score
2010s
7.1
Across 6 catalogue films in this decade, our scores never drop below the level a career is judged on.
Highest average IMDb rating
2010s
7.1
The public agrees most strongly about this stretch — useful context, and occasionally a decade behind our own reading.
Most awarded era
2010s
0 Academy Awards
Statuettes for the films themselves, which is the honest way to read an ensemble career. The Tale, The Space Between Us, Whiskey Tango Foxtrot.
Most productive era
2010s
6 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 | 2010s | 2020s |
|---|---|---|
| Drama | 7.16 films | — |
| Thriller | 8.11 film | — |
| Comedy | 6.32 films | 6.81 film |
| Romance | 6.62 films | 6.81 film |
| Horror | — | 5.61 film |
Chronology
Firsts and peaks
The turning points, in the order they happened.
First film in Nutevio
Where our catalogue meets this career, as Bank Manager.
Career peak
Weighing billing against the film's own quality, this is the point where everything aligned at once.
Highest rated performance
2014Gone Girl
8.1 on the Nutevio scale, the top of the catalogue for this performer.
Most recent film
2025Control Freak
The current state of the argument, as Dr. Chen.
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.
8 of 8 films
as Producer
Directed by David Fincher
as Dr. Gary Loh
Directed by Unknown
as Tom
Directed by Unknown
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
Producer
Gone Girl (2014)
Performance score7.8
The performance the rest of the career is read through. Producer gives Scott Takeda a structure to work against, and the film hands over its centre of gravity without hesitation.
View movie#2
Mr. Yamata
Dallas Buyers Club (2013)
Performance score7.8
Dallas Buyers Club asks for something the previous films did not, and gets it. Mr. Yamata is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#3
Master of Ceremonies
The Tale (2018)
Performance score7.0
The Tale asks for something the previous films did not, and gets it. Master of Ceremonies is played without a single line of pleading for the audience's sympathy — which is exactly why it lands.
View movie#4
Dr. Gary Loh
The Space Between Us (2017)
Performance score6.9
The Space Between Us asks for something the previous films did not, and gets it. Dr. Gary Loh 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 Producer
Start here. Gone Girl is the clearest statement of what Scott Takeda does — accessible, 149 minutes, and rated 8.1 by our editors. No context required.
Our editors order this path by accessibility first and chronology second. You meet Scott 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.
Dallas Buyers Club (2013)
Keeps the drama register of Gone Girl but asks for a colder reading of it.
The Space Between Us (2017)
Keeps the drama register of Dallas Buyers Club but asks for a colder reading of it.
The Tale (2018)
Same director as The Space Between Us, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Sweet Pecan Summer (2021)
Same director as The Tale, different problem to solve. Watching them in order shows how much of the effect was the collaboration.
Company kept
The directors and performers this career keeps returning to.
Behind the camera
Who casts this performer, how often, and what the pairing produces.
David 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 GirlJean-Marc Vallée
Director
1 film together · 8.0 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Dallas Buyers ClubGlenn Ficarra
Director
1 film together · 6.3 avg MV
One film, but the kind that reorganises how a performer is cast afterwards.
Best film together
Whiskey Tango FoxtrotSix 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
Gone Girl
as Producer
The one that survives a fourth viewing. Nothing in the performance depends on surprise, which is why it keeps paying out.
Most emotional performance
Dallas Buyers Club
as Mr. Yamata
Grief played at conversational volume. The film never asks the audience to cry; the performance simply makes it difficult not to.
Most influential performance
Gone Girl
as Producer
You can hear this reading in other actors' auditions a decade later — the surest measure of influence there is.
Best ensemble performance
Gone Girl
as Producer
Work that makes everyone else in the frame better without ever pulling the camera towards itself.
Career defining performance
Gone Girl
as Producer
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. Scott Takeda 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.
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
6 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
Gone Girl
as Producer
The last five minutes reorganise everything before them, and hold up when you already know what's coming.
Best opening
Gone Girl
as Producer
A first sequence that states the rules of the film without explaining a single one of them.
Most emotional
Dallas Buyers Club
as Mr. Yamata
The film where the technique steps aside and lets the feeling arrive undefended.
Best twist
Gone Girl
as Producer
A reversal earned by information the film gave you and trusted you to misread.
Best visual achievement
Gone Girl
as Producer
Images that would survive with the sound switched off.
Best action sequence
The Space Between Us
as Dr. Gary Loh
Geography, stakes and consequence held in the same frame — spectacle you can follow.
Best dialogue
Whiskey Tango Foxtrot
as Ed Faber
Lines written to be spoken, staged so the pauses do half the work.
Most underrated film
Gone Girl
as Producer
The public vote sits below ours on this one, and the direction is the reason for the gap.
If you like this performer
Robert Downey Jr.
Works with the same directors — David Fincher
Morgan Freeman
Works with the same directors — David Fincher
Edward Norton
Works with the same directors — David Fincher
Zach Grenier
Works with the same directors — David Fincher
Richmond Arquette
Works with the same directors — David Fincher
Bob Stephenson
Works with the same directors — David Fincher
Have your say
Community
Which Scott Takeda performance holds up best?
Our readers argue about this one. Make your case, or read the ranked debate already in progress.
Join the conversation
Reference
Continue exploring
Trending performers
Directors they work with
Collections to read next
