Speaker 1: Pushkin. This is talk Easy. I'm Sam Fragoso. Welcome to
Speaker 1: the show today. I am joined by actor Eddie Redmain.
Speaker 1: Redmain came to prominence in the early twenty tenths, where
Speaker 1: he starred in a string of films like My Week
Speaker 1: with Marilyn Leigh miss in The Theory of Everything, for
Speaker 1: which he won an Oscar for Best Actor in a
Speaker 1: Leading Role. In the years since, he found success in
Speaker 1: the Fantastic Beast franchise. But regardless of size or scope
Speaker 1: of the project, his work is defined by transformation, a
Speaker 1: dogged commitment to shape shifting in which he both physically
Speaker 1: and mentally embodies each character, whether it's Stephen Hawking, civil
Speaker 1: rights activist Tom Hayden in the Trial of the Chicago Seven,
Speaker 1: or as serial killer Charlie Cullin in his latest film,
Speaker 1: The Good Nurse for Those Unfamiliar. Culin received eleven consecutive
Speaker 1: life sentences in two thousand and six after pleading guilty
Speaker 1: to twenty two murders in New Jersey and then another
Speaker 1: seven in Pennsylvania. He did this by administering lethal doses
Speaker 1: of medications to patients under his care. The film, directed
Speaker 1: by Tobias Linholm, picks up toward the end of Collins
Speaker 1: Killingsfrey as he befriends a compassionate colleague and Amy Lochran
Speaker 1: played by Jessica Chastain. The two nurses became as friends
Speaker 1: working night shifts at the ICU, but after a series
Speaker 1: of mysterious patient deaths, Amy, along with the police, suspect
Speaker 1: foul play. Here's a clip for the trailer. So how
Speaker 1: the girls. They're really good, but I'm working a lot.
Speaker 1: You're still only for last Friday, but it can wait. Really,
Speaker 1: I know, I'm sorry, Sorry about Thank you Bunny guys
Speaker 1: Ur's lock Frint is his officer Braun. Do you remember
Speaker 1: Anna Martinez? Yeah, it was sudden mind taking them. Look
Speaker 1: at this the insulin inner system. It's a double medication error,
Speaker 1: which is really rare. We understand that you work with
Speaker 1: a Charlie Coulo. Could he be involved in this? She
Speaker 1: their love birds. I cannot get over how cute near
Speaker 1: Vanessa is. Who's Vanessa? Oh my god, there's insolent in
Speaker 1: her system. That was a clip from The Good Nurse,
Speaker 1: playing now in select theaters across the country. The film
Speaker 1: will also be available to stream on Netflix starting October
Speaker 1: twenty six. Now in the last decade, there's been a
Speaker 1: kind of morbid fascination with serial killers on screen, from
Speaker 1: Dexter to Bury to Dahmer. But The Good Nurse, to
Speaker 1: its credit, bucks the trend of either glorifying or satirizing
Speaker 1: monstrous behavior. And that's really in large part due to
Speaker 1: Redmain's commanding performance, which captures all sides of Charlie Colin,
Speaker 1: his specter like presence around the hospital, his genuine kindness
Speaker 1: toward Amy and her children, and finally, his unnerving ability
Speaker 1: to disassociate while committing these heinous crimes. And so this
Speaker 1: week I wanted to ask Eddie about that difficult balancing
Speaker 1: act and how he's gone about doing this work for
Speaker 1: the last fifteen years. We also discussed his first role
Speaker 1: at the age of twelve, and Oliver lessons learn from
Speaker 1: actor Mark Rylance, his early years as a struggling actor
Speaker 1: in Los Angeles, and much much more. But before we
Speaker 1: jump in, I just want to thank everyone for the
Speaker 1: nice messages we've been receiving all week. Last Sunday with
Speaker 1: Corey Bush marked episode three hundred of this podcast. That
Speaker 1: was I admit a stat I was unfamiliar with until
Speaker 1: someone pointed it out to me. I think you know,
Speaker 1: when you make fifty two episodes of a show each year,
Speaker 1: sometimes those markers get lost in the shuffle. So I
Speaker 1: just want to thank everyone that has been with us,
Speaker 1: whether you've been here since twenty sixteen or you found
Speaker 1: the show today. I am grateful for you if you
Speaker 1: want us to continue making the work we do every Sunday.
Speaker 1: And I know I've said this before, but the best
Speaker 1: thing you can do is share Talk Easy with a friend.
Speaker 1: If you're a little bit tired of your friends and
Speaker 1: don't want to text them, I understand. Just giving us
Speaker 1: five stars on Spotify, Apple, wherever you listen is another
Speaker 1: great way for new listeners to find the show. And
Speaker 1: so with that, here's to you, wherever you are, whoever
Speaker 1: you are, for showing up to Talk Easy time and
Speaker 1: time again. Here's the three hundred more of these conversations
Speaker 1: like the one I had with Eddie Redmain much love
Speaker 1: Eddie Redmaan, Hi, Hi you feeling good? Thank you? I'm
Speaker 1: being really good. I'm excited to be here in Los Angeles.
Speaker 1: Been a while. There's some anxiety in your voice, is there?
Speaker 1: There's always anxiety a certain amount. Yeah, I'm getting better.
Speaker 1: The older, I get, but I think there's always been
Speaker 1: a sense of anxiety and worry that fuels me, which, um, yeah, well,
Speaker 1: I think we'll get into that should we've gone straight in.
Speaker 1: I think we'll try to figure that out perfect by
Speaker 1: the end of this conversation. That would be wonderful. You
Speaker 1: have this new film out called The Good Nurse. In it,
Speaker 1: you play real life serial killer Charlie Colin, who used
Speaker 1: intravenous tubes to poison patients with lethal drugs. He did this,
Speaker 1: I think, over sixteen years in nine hospitals across New
Speaker 1: Jersey and Pennsylvania. Now I'm curious because you have this
Speaker 1: quote where you say, when I'm reading a script, I
Speaker 1: react to what is presented in front of me. But
Speaker 1: I do like the idea that a lot of the
Speaker 1: characters I play have empathy as something in errent to them.
Speaker 1: So on the surface, it's hard to imagine empathy as
Speaker 1: something inherent to a serial killer. So what was your
Speaker 1: entry point into this man? Perhaps the most curious thing
Speaker 1: about reading the script was that empathy felt at the
Speaker 1: forefront of who he was. On the one hand, he
Speaker 1: was the nurse that when nurses were leaving the hospital
Speaker 1: at the end of the day. They wanted him to
Speaker 1: be the nurse that took over. The changeover, in which
Speaker 1: you pass over the notes could take up to an hour.
Speaker 1: When Charlie was there, it would take fifteen minutes. He
Speaker 1: was efficient, he was kind, he was good, and it
Speaker 1: was those qualities that meant that Amylachrant, Jessica Chastain's character
Speaker 1: became very close to him, and Amy was suffering from
Speaker 1: illness at the time, and she relied on Charlie. And
Speaker 1: it was true that empathy. When I was making the movie,
Speaker 1: we were lucky enough to spend time with Amy and
Speaker 1: she said, the most important thing is that kindness. It
Speaker 1: was real, it was true. It just happened that there
Speaker 1: was a disassociative personality that then weaponized that empathy. So
Speaker 1: that was what I found kind of intriguing, was on
Speaker 1: the surface, because I didn't know about the story. When
Speaker 1: I read the script, I saw this quite kind gentleman,
Speaker 1: and then when the horrific things that he was doing
Speaker 1: unveiled themselves, I find it particularly dumbfounding that that quality
Speaker 1: of empathy was then being used in a poisonous way.
Speaker 1: That dynamic between Amy and Charlie. I think is really
Speaker 1: best described in the book in which the film's adapted from.
Speaker 1: There's a passage it reads like many nurses, Amy saw
Speaker 1: herself as a hero defending humanity's most fragile, an advocate
Speaker 1: and facilitator for the voiceless and immobile. With this question
Speaker 1: mark posture, soft gray hair and raddy old man cardigans,
Speaker 1: the new nurse struck Amy as another sensitive soul in
Speaker 1: need of defending the sad mister Rogers type, both trippy
Speaker 1: and depressed. His nurse Whites had the dingy air of
Speaker 1: bachelor washing, and behind his greasy drug store glasses, his
Speaker 1: eyes held a darkness and desperation that Amy recognized as
Speaker 1: masked anger. It took only a couple overnights together before
Speaker 1: Amy realized that Charlie Colin was also one of the
Speaker 1: funniest people she had ever met. That question mark posture,
Speaker 1: I was wondering what that description did for you. Well,
Speaker 1: it's so interesting hearing you read that, because it was
Speaker 1: part of the appeal of this character and this film,
Speaker 1: which was just a load of conflicting things. The question
Speaker 1: what was a big thing. When I'm approaching characters, particularly
Speaker 1: real people, I often look to other people's interpretations. You
Speaker 1: know that when you're playing a real person that you're
Speaker 1: never going to get right. It's not documentary, And so
Speaker 1: more and more I've found whether it's looking at paintings,
Speaker 1: writing other people's interpretations of character is an insight. And
Speaker 1: Charlie Graber, who wrote that book, was brilliant and spent
Speaker 1: a lot of time with Charles Cullen and got a sense.
Speaker 1: So the idea of that question mark was both physical
Speaker 1: because he had an extraordinary and specific posture, but it
Speaker 1: was also the enigma of him. It was the blankness,
Speaker 1: It was the sort of void I suppose that was
Speaker 1: filled with trauma. It became really my step into finding
Speaker 1: who he was. But doesn't that question mark extend beyond
Speaker 1: his pasture? And that the film really makes no attempt
Speaker 1: to explain away his actions, and any questions we may
Speaker 1: have around the why or the how of his behavior
Speaker 1: don't exactly get answered by the end of the movie.
Speaker 1: When I read the script, that was one of the
Speaker 1: interesting things I thought, is it possible to make a
Speaker 1: film in which you don't confront that? But through discussion
Speaker 1: with Tobias, it became clear that the human need or
Speaker 1: an audiences need to know why someone would do something
Speaker 1: as horrendous as this is about making ourselves feel safe
Speaker 1: once we can kind of label it, iss going oh, oh
Speaker 1: oh he did it because of this, it makes us
Speaker 1: go okay, So that person's not a human being, he's
Speaker 1: a monster, and we're a human being, so we're sort
Speaker 1: of okay, Whereas actually it wasn't as easily definable as that,
Speaker 1: And actually the not knowing, the not answering is the truth.
Speaker 1: What's extraordinary about Charles Grave's book is our film is
Speaker 1: the sort of last third of the book, and the
Speaker 1: other two thirds are really intimate insight into Charlie's upbringing.
Speaker 1: And this man had unfounding trauma as a kid. He
Speaker 1: was the youngest of a large family. His dad died
Speaker 1: in his first year. He was abused by his siblings partners,
Speaker 1: and first tried to kill one of them at age seven,
Speaker 1: I think with the light of fluid, and then try
Speaker 1: to kill himself after that, and so your first suicide
Speaker 1: attempt at age seven. And then when he was fifteen,
Speaker 1: his mother died, who he was incredibly host to. He
Speaker 1: was the first of the hospital. She died in a
Speaker 1: car crash and when he arrived her body had been lost,
Speaker 1: and when it was found it was she wasn't clean.
Speaker 1: She was they had sort of just sort of left her.
Speaker 1: He then went and later in his life joined the Navy.
Speaker 1: This man passed all the psychiatric tests to work on
Speaker 1: submarines and was found down in the submarines with his
Speaker 1: fingers over the Poseidon missiles. You know, some people say,
Speaker 1: very oddly, although it's hearsay, dressed as a nurse. This
Speaker 1: is before he had ever had any nurse training. And
Speaker 1: then finally he was thrown out of the Navy and
Speaker 1: chose to go back to that same hospital that his
Speaker 1: mother died at to train as a nurse. So there
Speaker 1: was this incredibly intense hatred of this hospital that his
Speaker 1: mother had been and the systems that allowed his mother
Speaker 1: to be treated so poorly. But also when he then
Speaker 1: started training as a nurse, he was top of his class,
Speaker 1: he was brilliant. He was at the president of the
Speaker 1: students union. He very quickly started working in intense burns units.
Speaker 1: And he then said, you know, it was because of
Speaker 1: the horror of seeing these people who were very very ill,
Speaker 1: that it was the sense of mercy killing to begin with,
Speaker 1: but very quickly that doesn't hold up because later in
Speaker 1: his career, he wasn't injecting people and killing them immediately.
Speaker 1: He was just injecting these sailing bags that were being
Speaker 1: sent off into the wards as bombs, almost, and so
Speaker 1: it became something else. But what I've found extraordinary about
Speaker 1: this script and this story was that it was allowed
Speaker 1: to happen, that this man who was so challenged mentally
Speaker 1: and had done such extreme things, was ever allowed near
Speaker 1: vulnerable people. As you're describing all that, I can't help
Speaker 1: but shake you as a performer husband, father, holding all
Speaker 1: of this material consumed by this man's horrible, horrendous actions,
Speaker 1: and I guess I just wonder how the hell do
Speaker 1: you carry the weight of that on a day to
Speaker 1: day In making a movie, I think because there are
Speaker 1: things that sing out to you in the research, and
Speaker 1: you take all of anything you can get your hands on,
Speaker 1: and that's the stuff I love. That's like the bit
Speaker 1: that I enjoy most about the process. But there are
Speaker 1: a few sort of primary colors that sing out from
Speaker 1: specific moments. One was the question Mark. The other was
Speaker 1: from Amy Lochran herself, who just described his humor and
Speaker 1: his kindness and the truth of their friendship, the love
Speaker 1: in their friendship, and that when she met the murderer,
Speaker 1: she only met him twice. One was at a scene
Speaker 1: at the moment or a moment when she was trying
Speaker 1: to get him to reveal, and the other was a
Speaker 1: moment in an interrogation with the police, and that was
Speaker 1: a different human being. And so what it did for
Speaker 1: me as a performer was go, Okay, you can try
Speaker 1: and take with you all the trauma, but actually what's
Speaker 1: most important is what you hide, and hiding it really,
Speaker 1: really well is the key. So the insight into the
Speaker 1: first two thirds of the film was actually about friendship,
Speaker 1: was about chemistry and making that real love between two
Speaker 1: people and making that empathy real and then leaving it
Speaker 1: to be a Slinholmer director to find the other colors
Speaker 1: on the side of that if and when he wanted
Speaker 1: to reveal this Southern side of him. Something that stuck
Speaker 1: out to me in the research, since we're talking about research,
Speaker 1: is that once you've done the preparation, the psychological mapping,
Speaker 1: I want to unpack the actual physical conditions of the set,
Speaker 1: which you described as extremely dark, and for someone like
Speaker 1: me who's color blind and has shardy peripheral vision was riveting.
Speaker 1: What exactly did that look like? On set? It was
Speaker 1: really shocking, actually my first day. And it's always so
Speaker 1: weird on your first step filming, and you're terrified because
Speaker 1: you've created this character in a vacuum, and even though
Speaker 1: you've rehearsed, perhaps from a month with Tobias, you've not
Speaker 1: really spoken the lines much. You've talked through the script
Speaker 1: and about nursing and about themes, and then suddenly you
Speaker 1: have to jump in at a scene and commit to celluloid,
Speaker 1: especially with the zax exactly speA the Zaxxon and his
Speaker 1: specific physicality. And I arrived on set and they had
Speaker 1: built this hospital corridor because we couldn't shoot in hospitals
Speaker 1: because it was during COVID and it was pitch black.
Speaker 1: I could barely see a thing. And I knew that
Speaker 1: we were shooting the film about night nurses, but I
Speaker 1: hadn't realized it quite dark. And it said to Tobias,
Speaker 1: the director, I was like, Wow, this is seriously dark.
Speaker 1: And then I kind of looked on the monitor and
Speaker 1: saw that the way it was being read through the
Speaker 1: camera was actually much brighter than it looked. So I
Speaker 1: walked into the darkness, which gets you into this kind
Speaker 1: of headspace of invisibility and anonymity, which other key aspects
Speaker 1: to who Charlie is. And one of the things that
Speaker 1: is odd about making, and I've kind of started in theaters,
Speaker 1: I've always sort of tried to come to terms with it,
Speaker 1: is that you are have to be at your most
Speaker 1: relaxed and most natural, and yet there are a group
Speaker 1: of maybe forty people about five inches away from you
Speaker 1: and machinery and that's scrutinizing. But in the darkness you
Speaker 1: couldn't see them. It meant that you were so much
Speaker 1: less self conscious, and that Jess and I could just
Speaker 1: see each other. It felt so intimate that it gave
Speaker 1: the film an intimacy that I think it's really unique
Speaker 1: to it actually, and when you see your film, it's
Speaker 1: not nearly that dark. They kind of opened the apertures,
Speaker 1: and I think it was all about getting a grainy
Speaker 1: effect or you know, Jody are cinematographer's ideas, But I
Speaker 1: found it as a side effect of that creative choice.
Speaker 1: Found it really helpful. You mentioned starting out on stage.
Speaker 1: I believe your first role is at the age of twelve,
Speaker 1: playing the very pivotal role of workhouse Boy number forty six.
Speaker 1: You're right in Sam Mender's Worth End production of Oliver.
Speaker 1: I'm wondering, since you did so much research for this
Speaker 1: new part, did you bring that kind of rigor six.
Speaker 1: I bought passion and I bought commitment that I don't
Speaker 1: think i've I don't think I've bought that rigger. I
Speaker 1: definitely didn't read the book. M No, that was twelve
Speaker 1: year old you twelve year old very disappointed. It wasn't
Speaker 1: showing up. I wasn't bringing away Aga. I got cast
Speaker 1: in this production that was in London by this young
Speaker 1: director called Sam Menders, and I used to get to
Speaker 1: leave my school and I got to stand up in
Speaker 1: the middle of like a maths closs and just go
Speaker 1: and get on subway and go to the London Palladium,
Speaker 1: which is one of our most beautiful old theaters, and
Speaker 1: I just remember it sort of reminds me, you know,
Speaker 1: walking in the stage door there and passing these bustling
Speaker 1: Victorian costumes and it felt like something I had a
Speaker 1: birdman or something, you know, like the romance of theater
Speaker 1: was instantly hypnotic to me. That's where the drug hit me.
Speaker 1: I love this image of you as an eleven twelve
Speaker 1: year old walking into this theater, falling in love with
Speaker 1: a craft that is so much larger than yourself. And
Speaker 1: at the same time that that's happening, your father says
Speaker 1: to you, only one and a hundred actors make it.
Speaker 1: Have you thought about producing? Yeah, it's like you're falling
Speaker 1: in love and your dad's like, ah, maybe slow down,
Speaker 1: maybe slow up. But to my I mean, the amazing
Speaker 1: thing about my parents is they don't come from this
Speaker 1: world at all. My dad worked in finance, your mother
Speaker 1: did relocation exactly. But they were passionate supporters. And as
Speaker 1: a parent now myself like, you just want your kids
Speaker 1: to be happy, and any show of passion or of
Speaker 1: interest is a wonderful thing. But to my parents credit,
Speaker 1: it was something they really knew nothing about, and they
Speaker 1: really supported it. You know. Most of my brothers are
Speaker 1: like extraordinary sportsman like and that's more my kind of
Speaker 1: mom and dad's I suppose natural world. But from a
Speaker 1: really young age, when I showed an interest, my dad
Speaker 1: found a little like drama workshop to go to the weekends,
Speaker 1: and I joined this place called the Jackie Palmer Children's School,
Speaker 1: which is where James Corden was randomly at the time
Speaker 1: doing street dance and I was sort of singing songs
Speaker 1: from you know, Cats. But but we actually, if you
Speaker 1: want to do that now, absolutely I'm more than well
Speaker 1: very kind of I'm not going to put you through
Speaker 1: the actually specifically requested it. When you talk shows are
Speaker 1: a big thing, like in promoting films, and I going
Speaker 1: back to what we started, I think a lot of
Speaker 1: my anxiety about doing press generally stems from having to
Speaker 1: do talk shows. And I made the error of going
Speaker 1: on James Gordon's one. And quite often when you do
Speaker 1: these talk shows, they dig up stuff from your past,
Speaker 1: but generally they've run it past you to check that
Speaker 1: you don't But of course James, given that we had
Speaker 1: both been at this same drama school as kids, managed
Speaker 1: to go deeper in his research than anyone. He knew
Speaker 1: which look, he knew where the skeletons were buried, and
Speaker 1: he played a good three minute version of my sort
Speaker 1: of eleven year old self singing memory from Cats and
Speaker 1: so it was so horrifically painful to watch that will
Speaker 1: not be putting you all your listeners all myself, Well,
Speaker 1: you know what we actually got that clip from James.
Speaker 1: We're going to roll it here. I love you, Thank
Speaker 1: you for making me hear that. You know, we just
Speaker 1: started this song, but the love is mutual. I want
Speaker 1: to go to the moment where you became that improbable
Speaker 1: statistic that your dad was talking about the one and
Speaker 1: a hundred actors that make it. You're twenty years old,
Speaker 1: studying history of art at Trinity College in Cambridge when
Speaker 1: you hear about a production of Shakespeare's Twelfth Night being
Speaker 1: mounted at the Globe Theater in London. What happens next?
Speaker 1: I got this cool saying it's the four hundred anniversary
Speaker 1: of Twelfth Night. It was commissioned by this lawyers in
Speaker 1: London called the Middle Temple Hall, and they've commissioned the
Speaker 1: newly mounted Globe Theater company, which was headed by an actical,
Speaker 1: Mark Rylands. This is really good. He's pretty nifty. I
Speaker 1: didn't know any of his works. Yeah, he's a talented man.
Speaker 1: I wish I could say no, I can I know? Yeah?
Speaker 1: I mean now we're not getting in fun of boos.
Speaker 1: He got called to this audition and I had gone
Speaker 1: to Eton An All boys school, and I was quite
Speaker 1: used to playing women. It was an all male production
Speaker 1: they were trying to do, which is what had happened
Speaker 1: during Shakespeare's time, and Mark was playing Olivia. I was
Speaker 1: auditioning to play Viola, and I didn't know Mark. I
Speaker 1: didn't know. I was so green that I didn't find
Speaker 1: the situation intimidating. I was also at university, and I
Speaker 1: didn't think i'd firstly get the part, secondly be able
Speaker 1: to do it. If I did get it. A couple
Speaker 1: of weeks later, I didn't hear anything back, and I
Speaker 1: was in a pub in notting Hill in London with
Speaker 1: a friend and I got a call from this casting
Speaker 1: director on my kind of flip phones saying, Eddie, are
Speaker 1: you in London? As ye, she said, can you come
Speaker 1: to the Globe? And I came and within minutes I
Speaker 1: would sort of put in this rehearsal dress, and I
Speaker 1: was there with Mark just reading some scenes. And then
Speaker 1: Mark then took the script out of my hand and
Speaker 1: I had to sort of start basically improvising Shakespeare, improvising
Speaker 1: iambic pentamata, which if you would mention that to me now,
Speaker 1: I mean, is it. I think it's actually probably every
Speaker 1: actor's worst night there. But I was young, I was green,
Speaker 1: I was drunk, and it was fine, and somehow I
Speaker 1: got this part and it I then had to negotiate
Speaker 1: with university whether I was allowed to do it, and
Speaker 1: they said, look, you can take a term off, but
Speaker 1: you have to send all your essays back every week.
Speaker 1: And there's an amazing place in None called the Courthold Institute,
Speaker 1: beautiful university specializing in art history, and it's right next
Speaker 1: to the Middle Temple Hall where we were doing Twelfth Night.
Speaker 1: And so I would have these amazing days of going
Speaker 1: to the court Hold to sort of write my essays
Speaker 1: and then in the evenings playing viola opposite Mark, as
Speaker 1: you say, one of great actors living. And I see
Speaker 1: it as my education because at the Globe they had
Speaker 1: verse coaches, they had voice coaches, and that was kind
Speaker 1: of my drama school. Really, when you're twenty years old,
Speaker 1: it's an especially impressionable age, and I'm curious, what did
Speaker 1: you learn from Mark Rylands at that time? Play That's
Speaker 1: the thing that Mark does. That idea of accessing your
Speaker 1: inner child and constantly finding playful ways of pushing you
Speaker 1: outside of your comfort zone was really important, along with
Speaker 1: technical things. As I said, there were sort of verse
Speaker 1: coaches and voice coach. I remember doing this amazing exercise
Speaker 1: with Mark when we were doing a scene between Vila
Speaker 1: and Olivia, and again I really hadn't done much Shakespeare,
Speaker 1: so this idea that in iambic pantameter, the last sort
Speaker 1: of beat of the line is often where the most
Speaker 1: important word is. They did what they are putting all
Speaker 1: these hairs around the room, and we would play the
Speaker 1: scene and on the last beat of the pentameter we
Speaker 1: would step up onto one of the chairs, so it
Speaker 1: became like this dance and it was a wave for them.
Speaker 1: Mark definitely didn't need to do this, but of affirming
Speaker 1: to me where or recognizing what that word was in
Speaker 1: the scene, I did Rich the second at the Dumb
Speaker 1: Wow many years later, and it became a sort of
Speaker 1: technique that I used. So there were lots of specific
Speaker 1: minutia of things, but the thing that I took away
Speaker 1: mostly was play We'll be right back. After a quick
Speaker 1: break from that performance at the Globe, you secure an agent,
Speaker 1: then land a key role opposite of Jonathan Price and
Speaker 1: Edward Albe's the Goat, eventually finding yourself out here in
Speaker 1: Los Angeles alongside Andrew Garfield and Jamie Dornan. You would
Speaker 1: sleep on floors while going to these auditions, and it's
Speaker 1: those auditions I wanted to talk to you about. Can
Speaker 1: you remember what kind of performer you were at that
Speaker 1: time going into those rooms. I had come from theater
Speaker 1: and I didn't know only about film. My first film
Speaker 1: was with Tony Collette and we were shooting it in
Speaker 1: Australia and the director said, look, you're not allowed to
Speaker 1: watch playback, and I was like, totally get it. And
Speaker 1: I did this scene with Tony and we were doing
Speaker 1: a few hours in and she was like, Eddie, do
Speaker 1: you want to go and watch the playback? And I
Speaker 1: was like, no, no, I'm not loud, you know, I
Speaker 1: told him. And she goes, come watch the playback and
Speaker 1: I'm like, no, I'm ready. The director said I'm not,
Speaker 1: and thank god she did, because I went and watched
Speaker 1: and it was as if I was performing this thing
Speaker 1: to the back of the stores. I just had no
Speaker 1: sense of the intimacy of the camera. And so the
Speaker 1: truth was that time in la was really it was
Speaker 1: sort of very much resonated when I saw Lala Land.
Speaker 1: You have to go in with a take. You have
Speaker 1: to try and do something that defines you or makes
Speaker 1: it sort of memorable. But you would sort of audition
Speaker 1: for everything and another thing. And I remember driving around
Speaker 1: this city in a little rental car that you'd got.
Speaker 1: When you arrive at LAX, you have to take sort
Speaker 1: of four different buses to find this place, and you'd
Speaker 1: be in this little car and you're giving your ID
Speaker 1: and going over to these gigantic studios, and the other
Speaker 1: seat in the car would be covered with pages of
Speaker 1: different scripts and all your fifteen different slightly shoddy American
Speaker 1: accents that you were jumping between a loose debris debris
Speaker 1: debris of failure exactly exactly that loose debri of failure.
Speaker 1: And then occasionally one of your mates would get something
Speaker 1: and you'd be really happy. You'd be early have no
Speaker 1: but it was it was interesting because it was a
Speaker 1: really good learning thing. How do you mean? Well, because
Speaker 1: we were and are a troop of buddies, but at
Speaker 1: the same time, yours competitive and when you don't get something,
Speaker 1: you're furious. But then the fact that a mate of
Speaker 1: yours got it and someone you admired it was like,
Speaker 1: oh I didn't get it, fack. But at least someone
Speaker 1: I kind of love got it. And the lucky thing
Speaker 1: with that group people is we've all had luck and
Speaker 1: now to be able to be in a position where
Speaker 1: we've all luckily kept working and to be able to
Speaker 1: look back at that time and also talk to each
Speaker 1: other about how to navigate the oddness of the industry,
Speaker 1: is it feels special. One role you did end up
Speaker 1: landing is in The Other Bull and Girl. Yeah, that's
Speaker 1: an interesting choice. Where are you going with this? Have
Speaker 1: I led you astray? That's some faith in me? All faith.
Speaker 1: I thought we were going well. Now skeptical. I thought
Speaker 1: you where I'm going? I'm sad. There's one day when
Speaker 1: Scarlett Johansson comes up to you, Yeah, and it's talking
Speaker 1: to you about the history of film. Yeah, And I
Speaker 1: was wondering if you remember that day. There are various
Speaker 1: things I remember from The Other bellin Girl. The first
Speaker 1: one was I'd read the book and I was playing
Speaker 1: this guy called William Stafford who ended up being Mary
Speaker 1: Berlin's husband, and in the book he's described as strapping,
Speaker 1: kind of six foot three, dark, tall and handsome. Now
Speaker 1: you're a good actor. I was cast in this book,
Speaker 1: and I remember going you know, don't talk yourself out
Speaker 1: of a a part, mate, don't talk yourself. And I arrived
Speaker 1: on set and we did a pre shoot and I
Speaker 1: was introduced to Scarlett, who I had never met before,
Speaker 1: and there were these three children. We were shooting the
Speaker 1: last scene of the film, and the director Justin said,
Speaker 1: all right, Eddie, you and Scarlett, you just wander through
Speaker 1: this field and you know, just at any moment, you know,
Speaker 1: you sort of just take Scarlet and you kiss her
Speaker 1: and your children playing. I was like, okay, it's all
Speaker 1: like completely overwhelming a prospect. I didn't quite how to behave,
Speaker 1: hadn't sort of really done many on screens to kisses,
Speaker 1: didn't know if it was sort of appropriate to sort
Speaker 1: anyway things overwhelmed. We were sitting just before the first
Speaker 1: take and I said to Scart, I was like, it's
Speaker 1: lovely to meet you. I don't really know why I'm
Speaker 1: casting this film because in the book he told dark
Speaker 1: an handsome Scart was like, Eddie, you know, honestly quite
Speaker 1: how I imagine it too, but we're going to make
Speaker 1: this work literally, and she was she's a good power
Speaker 1: and was like incredibly generous. But it was an odd
Speaker 1: one from the word go that movie. There was a
Speaker 1: moment on set though, when we were talking and she
Speaker 1: would often go edie, you know that bit in The
Speaker 1: Big Lebowski when and I would sort of not yeah, yeah, yeah, yeah,
Speaker 1: yeah yeah, that would be another bit, you know, the
Speaker 1: bit in Scarface whether what happens? And then as men
Speaker 1: typically do, yeah and pretend to and I at some
Speaker 1: point I basically had to admit that I did not.
Speaker 1: I actually hadn't watched any of these movies. And she
Speaker 1: was firstly furious at lying, and secondly I was like, ed,
Speaker 1: come on, this is your job. Like I'd come from
Speaker 1: a family again that we had watched films, but we
Speaker 1: weren't film literates, and the idea of watching films to
Speaker 1: educate yourself on your profession, I felt like it would
Speaker 1: be indulgent in the home that I was living in London,
Speaker 1: who when everyone was out going to proper jobs to
Speaker 1: come back and be like, what did you do today?
Speaker 1: I watched three DVDs? But she was right, like she gave.
Speaker 1: She was saying, you've got to educate yourself and learned
Speaker 1: from other actors, and that started really my kind of
Speaker 1: love of film. I suppose at that age. Was there
Speaker 1: some part of you that just hadn't quite accepted that
Speaker 1: this could be a job. You're right, yeah, I think
Speaker 1: that's exactly what it was. I think that it had
Speaker 1: always been a dream as a kid. Theater had been
Speaker 1: the thing I didn't know about film. I was now
Speaker 1: just trying to make a living, and it was very
Speaker 1: much a time when you auditioned for stuff and if
Speaker 1: you got the part, then you did it. But I
Speaker 1: think there came a point where I had to sort
Speaker 1: of take ownership of it because I'd got this agent
Speaker 1: when I had done Twelfth Night, I'd always gone, Okay, no,
Speaker 1: I've got the opportunity to try and do it. I'll
Speaker 1: see how it goes. But with that one in a
Speaker 1: hundred statistics still ringing truly in my ear, and I
Speaker 1: think part of what Scott's at that time was you
Speaker 1: need to take it seriously, was about actually taking ownership
Speaker 1: of the fact that this was my life choice. When
Speaker 1: do you think you did accept it? Well? Theory of
Speaker 1: everything was the first time that I felt like I
Speaker 1: sort of pushed myself to play something that was beyond
Speaker 1: my expectation of what I was able to do. I
Speaker 1: think people maybe listening to this and thinking, but wait
Speaker 1: a minute, you have my week with Maryland, lame is
Speaker 1: theater productions, all before theory of everything and the idea
Speaker 1: that you hadn't accepted it as a kind of job.
Speaker 1: I'm sure some people are thinking, how is that possible?
Speaker 1: I mean, it's interesting saying accepting it as a job,
Speaker 1: like I still think it as a career. It's my passions,
Speaker 1: it's in my blood, it's what I love. But as
Speaker 1: far as going, oh, I can play beyond what I
Speaker 1: looked like, I suppose maybe it was actually about accepting
Speaker 1: the I'm perhaps more of a character actor. That was
Speaker 1: interesting because for I'm a bit of an old looking
Speaker 1: person and for a while I was being put in
Speaker 1: and so accepting that there was a character actor side
Speaker 1: of me. What was important. You have this quote where
Speaker 1: you said, and a lot of quotes like hearing each
Speaker 1: time you say, I'm like, what did I say? Did
Speaker 1: I mean it? I hope I meant it. I think
Speaker 1: you just don't like hearing your own words. I'm just
Speaker 1: hoping that I wasn't lying what I said. Anyway. Well,
Speaker 1: let's listen, I'm extremely good looking. And this is where
Speaker 1: it starts. This is not true. Um, I'm a pessimist.
Speaker 1: Oh shit. I couldn't think, Oh God, okay, I'm a
Speaker 1: pessimist in life or maybe a self protectionist. At each
Speaker 1: point in my career, I think it will never happen.
Speaker 1: It will never happen. I've been scarred by getting my
Speaker 1: hopes up for things as an actor, and I guess
Speaker 1: I'm wondering in that time before Theory of Everything, did
Speaker 1: that pessimism sometimes get in the way. I mean, I
Speaker 1: think what I've done, or what I've realized, is that
Speaker 1: it's not so much pessimism, it's just not being active.
Speaker 1: I'll never be the person when I'm ask what part
Speaker 1: do you want to play? Like, what are your dreams?
Speaker 1: I just don't have any in the sense that I
Speaker 1: don't know what I'm capable of and what I love.
Speaker 1: And I think Theory of Everything was the start of that.
Speaker 1: Is when other people go, you can do this, I
Speaker 1: see you in this. It happened with the goodness, you know,
Speaker 1: to be a Slinderholme was like, I see you as
Speaker 1: this person. I don't think it was necessarily a script
Speaker 1: that I would have gone, oh, I can play Charlie Coulton.
Speaker 1: So you're saying a part of you need someone else's
Speaker 1: permission before you can find it in yourself. Yeah, and
Speaker 1: I find it interesting. It's not reading a book that
Speaker 1: I'll envision myself playing something or being that person. It's
Speaker 1: about someone seeing something in you and seeing the qualities
Speaker 1: of how different I could be in other things that
Speaker 1: are often that you see from the outside before I
Speaker 1: can start excavating them from the inside. Once you are
Speaker 1: emboldened by theory of everything, the movie comes out in
Speaker 1: twenty fourteen, you win an Oscar in twenty fifteen. After that,
Speaker 1: you're being offered scripts without auditioning, and you have this
Speaker 1: power to get some projects green light. But what comes
Speaker 1: with that, you've said, is that sometimes directors no longer
Speaker 1: direct you. They expect you to just be yourself. But
Speaker 1: you can't grow as an actor like that. How did
Speaker 1: you reconcile this kind of contradiction where you're being celebrated
Speaker 1: on the highest stage for this job, and yet this
Speaker 1: job suddenly has a sort of like new ceiling to it.
Speaker 1: I can't express how it. It is like I came
Speaker 1: to this city, as I was saying, before I went
Speaker 1: to thousands of auditions, didn't get them occasionally got close,
Speaker 1: but really and then suddenly overnight you don't see this
Speaker 1: city through that lens anymore. Actually you're staying hotels, you're
Speaker 1: kind to premieres. It's about coming here to press for things.
Speaker 1: And I still find that difficult to reconcile with los Ange's.
Speaker 1: You're treated completely differently, and all that is is a
Speaker 1: one notch that has It's like a light switch that's changed.
Speaker 1: The problem, as you were saying, that can come with
Speaker 1: that is that even those people who were auditioning you,
Speaker 1: directors and things, who saw your failings and your flaws
Speaker 1: because they didn't cast you and stuff, or they you know,
Speaker 1: either there's a disingenuous quality that you've become a better act.
Speaker 1: But of course you haven't become a better actor overnight.
Speaker 1: It's just you. Something happened where the alchemy of the part,
Speaker 1: the film, the writing, the extraordinary magic that happens in
Speaker 1: filmmaking works and you're suddenly shifted a few rungs up
Speaker 1: that ladder. That's when you understand that there's something disingenuous
Speaker 1: in the system of it, and you can't believe that.
Speaker 1: You know that you haven't become a better actor overnight.
Speaker 1: You've just been given an extraordinary opportunity and it worked.
Speaker 1: I think what's happened now is that it took me
Speaker 1: a couple of years just to go Okay, well I
Speaker 1: need to shake myself up. What is shaking things up?
Speaker 1: Looked like? Well, this year was reinspired and invigorated by
Speaker 1: my experience on The Good Nurse and working with Jessica
Speaker 1: and working with Tobias. I was about to then do
Speaker 1: this production of Cabaret in London that I had sort
Speaker 1: of been planning on doing for six years and trying
Speaker 1: to help produce, and that you first did when you
Speaker 1: were seventeen. Yes, exactly, but I mean all I knew
Speaker 1: was that it had been ten years since I've done theater.
Speaker 1: I was going from playing quite a few introverts to
Speaker 1: playing a character who is I think placeless, but certainly
Speaker 1: extrovert is one of his qualities. And I just wanted
Speaker 1: to go into this rehearsal room feeling free and ready
Speaker 1: to push myself kind of to and make a fool
Speaker 1: of myself in rehearsal in order to try things and
Speaker 1: not feel caged in by that. So I decided to
Speaker 1: go to a school in Paris called a Lecoq, which
Speaker 1: is this amazing physical theater school. They do these summer
Speaker 1: courses and one of them was on the of the Absurd.
Speaker 1: It was myself and about twenty other students aged between
Speaker 1: eighteen and sixty from all over the world who had
Speaker 1: come here to work with these two sort of Dienne
Speaker 1: French Dianne of the Lecoq pedagogy. And they can never
Speaker 1: say that I don't really know what pedagoby means, but
Speaker 1: I love it satisfying work I still don't know, and
Speaker 1: it's good when you use it. And it was brilliant
Speaker 1: because day one you walk in and you're given these
Speaker 1: extraordinary masks which get rid of your any sort of
Speaker 1: vanities or sense of self, and you're having to try
Speaker 1: and interpret the mask rather than a character on the page.
Speaker 1: It wasn't about text, it wasn't about beckyt or you
Speaker 1: know it was. It was about situations that were absurd
Speaker 1: that these teachers would suggest. For example, one I remember
Speaker 1: was about passport offices and the absurdity and those of
Speaker 1: kind of bureaucratic infrastructure. And when you go to one
Speaker 1: place and they're like, okay, sorry, can you have this
Speaker 1: piece of paper? Do you have this piece of paper
Speaker 1: and you're like no, wey'll like, we have to go
Speaker 1: join that queue to get to and then you get
Speaker 1: to the front of that queue and they're like, oh, so,
Speaker 1: but have you got that stamp? But no, well you
Speaker 1: have to go back to the queue. That came here
Speaker 1: was calf gask exactly. It was finding that mixture between
Speaker 1: humor coming from truth. But also that was all taught
Speaker 1: in French, which I speak a little bit of, but
Speaker 1: not and all of these things like I stood up
Speaker 1: to do the first improvisation with another wonderful actress I
Speaker 1: think from Switzerland, and within a minute and a half
Speaker 1: the two teachers were like no some mashpa, No, no, no,
Speaker 1: there was no kind of kid glove. They were going, no,
Speaker 1: this doesn't work, and this is why it doesn't work,
Speaker 1: and here's what you're doing. And it was I think
Speaker 1: there's a part of me that basically always wanted to
Speaker 1: go to drop school. And but what this week was,
Speaker 1: or two weeks was learning from what you saw and
Speaker 1: then going and trying again. And it meant that when
Speaker 1: I arrived into the room with this extraordinary cast that
Speaker 1: Rebecca Frecknell had accrued for cabaret. I just wasn't afraid
Speaker 1: to try ridiculous things. It sounds like these teachers were
Speaker 1: doing everything the industry wouldn't in the aftermath of your success. Yeah,
Speaker 1: but that makes it sound like it's the industry's fault,
Speaker 1: whereas like, I'm sure that braver actors would not feel limitation,
Speaker 1: So I don't want to blame it on these It
Speaker 1: was probably more my owns. Probably if I'd gone an
Speaker 1: artist and said, look, will you push me harder, I'm
Speaker 1: sure they would have been up for it. But it
Speaker 1: is also interesting that idea of film directors and actors,
Speaker 1: and some film directors come from a camera background. They
Speaker 1: come from sort of commercials and things, and actors are
Speaker 1: sort of seen as other. One of the things I
Speaker 1: find really interesting about film directors is they don't often
Speaker 1: get to watch other directors direct, whereas actors get to
Speaker 1: see we get to learn from early doors. I was
Speaker 1: lucky enough to work with like Cate Blanchett and Julie
Speaker 1: am More amazing actors By osmosis, you just try and
Speaker 1: watch them and like how not only how they're performing,
Speaker 1: but also how they're living. And whereas I feel like
Speaker 1: directors don't get that so much. You know they're really
Speaker 1: in their own world. Perhaps it's their joy and play
Speaker 1: you saw and Mark Rylance as a young actor all
Speaker 1: those years ago. I think you're right. I definitely think
Speaker 1: that this film was pretty inspiring to make because the
Speaker 1: filmmaker and also Jessica Chastain, the three of us, and
Speaker 1: with Christi r Writer also we felt like we were
Speaker 1: all telling the same story and that we were confident
Speaker 1: in each other to push ourselves. And from that came
Speaker 1: a regalvanized thing going into doing Cabaret, of being like,
Speaker 1: I just want to push myself and not compromise and
Speaker 1: keep pushing. What does not compromising look like at age forty,
Speaker 1: not compromising means being quite picky, perhaps being more rigorous
Speaker 1: and tentative in those meetings with directors and in scripts,
Speaker 1: and also talking through process like to be a director
Speaker 1: on this was like, so how do you like to work?
Speaker 1: And I said, look, my dream as an actor is
Speaker 1: to be told we've got it, now, go play. So
Speaker 1: given the confidence that I've delivered what the director needs,
Speaker 1: and then that extra take or two in which to
Speaker 1: push yourself into something that may be completely wrong but
Speaker 1: might just crack open something that's unexpected. That's when I
Speaker 1: feel that my most dumb free. You have this sorted
Speaker 1: with the quote. But no, this is a good quote.
Speaker 1: It's so weird to you or something, because it always
Speaker 1: when someone quotes your quote sounds so official. I'm sure
Speaker 1: anything sounds artificial coming from me. I think it does. Okay,
Speaker 1: I think it does. You know, I think it's okay.
Speaker 1: I have long hair still, so this I can vouchful.
Speaker 1: That's it, this whole hour exactly. He has long hair.
Speaker 1: I can verify he does have long hair. On the
Speaker 1: subject of freedom, you have this quote, you say, I
Speaker 1: draw and play the piano badly. Always the optimist, always
Speaker 1: the optimist. Hey, we tried the person thing. You corrected
Speaker 1: that straight to a therapy. It's quite like therapy. Oh
Speaker 1: my god, I really have such a diet outlook on
Speaker 1: the world. I think I need to go. Yeah, no, no,
Speaker 1: I don't want it. It's a room right over here,
Speaker 1: so perfect. But when I'm doing those things, I'm concentrating
Speaker 1: so hard that there's no room to worry. Yeah. I
Speaker 1: find that on stage too, and film that takes start
Speaker 1: and stop, and the anxiety kicks back in. People say,
Speaker 1: how can you do a play for six months, the
Speaker 1: same thing every night, but you never get close to
Speaker 1: getting it right, and every night you get to go
Speaker 1: back and try again. And in those moments, I do
Speaker 1: not worry. Yeah, I stand by that. But what I
Speaker 1: would say is that there's an odd thing about filmmaking
Speaker 1: that you create this character and avoid and everyone's like, yeah,
Speaker 1: we got hundreds of takes. It's just not true. You
Speaker 1: just don't. And so you have this dual thing that
Speaker 1: you hold as an actor, which is, on the one hand,
Speaker 1: trying to refine through takes what you your instinct is
Speaker 1: of a character, whilst at the same point wanting to
Speaker 1: just totally be free and find something a new and afresh.
Speaker 1: And I think what was interesting about working with Tobias
Speaker 1: is he knows how to combine both of those things.
Speaker 1: I'm thinking as my last question with you, because we
Speaker 1: have to go. I mean, I'm heading towards optimism. I'm
Speaker 1: so close, so close. I'm also wearing knitwear. I'm kind
Speaker 1: of sweaty. Sorry, I wasn't going to mention it. I
Speaker 1: don't mind coming to the room. You know that thing
Speaker 1: when you're in a room and you can't tell whether
Speaker 1: it's got smeaty and then when other people coming and
Speaker 1: go whoa, And I wasn't going to tell you. I
Speaker 1: was going to keep that between us. Thank you now,
Speaker 1: everyone listening so generous. You know I try to be,
Speaker 1: but as we do work towards optimism. Yes, you are
Speaker 1: recently received a Lifetime Achievement award at the Zurich Film Festival,
Speaker 1: and I have to say, now that you're an old
Speaker 1: man accepting this lifetime achievement, how does that none of
Speaker 1: the career is over. I guess it was done. I mean,
Speaker 1: I'm not sure it was a life even when I
Speaker 1: didn't quite know what that was, but it was. Do
Speaker 1: you know The interesting thing was I never watched work back.
Speaker 1: I will always watch films in the process of editing,
Speaker 1: and I'll watch them while you can still do something
Speaker 1: about it. I will be as engaged as possible, and
Speaker 1: then I don't see them. But what was interesting about
Speaker 1: the Zurich was they showed clips from different things, and
Speaker 1: I found it sort of weirdly emotional. But you're taken
Speaker 1: back to these moments, you remember where you were at
Speaker 1: the time, You're like how your life was, and it's
Speaker 1: the first time I've seen that going oh god, it's
Speaker 1: an odd career because you you have these photographs of
Speaker 1: memories of experiences. What made you emotional? That? So going? Ah,
Speaker 1: at that point when I you know, when I was
Speaker 1: doing Savage Grace, or when I was doing sort of
Speaker 1: between Theory of Everything and the Danish Girl, I sort
Speaker 1: of got married and my kid was born doing and
Speaker 1: it's an amazing thing, like a document to have this
Speaker 1: kind of tapestry of life experience. But yeah, and lifetime lifetime,
Speaker 1: I don't know about that, Yeah, Phil, My last question though,
Speaker 1: in Earnest and Earnest, I wasn't going to end on
Speaker 1: me teasing you and a lifetime achievement A word, I'm
Speaker 1: not that cool? Okay? Is that gray? I'm going gray?
Speaker 1: I wouldn't know it if you flex? Would you know it?
Speaker 1: I mean, aren't you colored blind? I'm colorblind, so this
Speaker 1: is true. That's fine as far as I can. Color
Speaker 1: blind and a little bit blind. So I look definitely
Speaker 1: in my twenties. I think the Internet. Why am I
Speaker 1: not in the new Twilight movie? I Hunger Games? But
Speaker 1: I don't think you want that? Okay, ready, I don't
Speaker 1: think so. I mean, but that's my last question at forty. Yeah,
Speaker 1: you have two kids. Ye, you're married. Yeah. I've talked
Speaker 1: about how this movie has sort of reawoken that part
Speaker 1: in you that wants to do this all over again. Yeah,
Speaker 1: that wants to continue making this your career. And I
Speaker 1: guess I'm wondering, beyond Hunger Games and Twilight, what do
Speaker 1: you want for yourself and what really matters? Family, really matters,
Speaker 1: and the odd nomadic circus like life of being an
Speaker 1: actor is really coming sort of full circle when it
Speaker 1: has ramifications on your kids and your family, and those
Speaker 1: choices of things to do need to be so given.
Speaker 1: I'm lucky enough to be in a position to understand
Speaker 1: what my process is, which is I need a long
Speaker 1: run way, like any time to prep and I need
Speaker 1: to be able to push myself outside the com zone.
Speaker 1: I really look to work with people who want to
Speaker 1: do that with me. So I suppose it's actually I'm
Speaker 1: really focusing on looking for interesting filmmakers who you have
Speaker 1: a symbiosis with. It's so many things. It's like I
Speaker 1: had routine as a kid, and that's what I know,
Speaker 1: and that's sort of I suppose what I want for
Speaker 1: will for my kids, because it's what I know, and
Speaker 1: yet at the same point, there's this conflict because my life,
Speaker 1: my work life demands this much more nomadic thing, and
Speaker 1: there's an interesting conflict there, and it's one that my
Speaker 1: wife and I and my kids we try and sort
Speaker 1: of negotiate with each job. But there's been great I
Speaker 1: feel so lucky I would get traveling to New York
Speaker 1: to make this film and seeing the kids. They definitely
Speaker 1: thought I was playing the good nurse. And then they
Speaker 1: saw they saw a glimpse of a trailer and which
Speaker 1: I think was deeply traumatizing, and they were like, what's
Speaker 1: the dad, You're the bad nurse And I was like yeah.
Speaker 1: They were like not. At some point kids have to
Speaker 1: learn that their parents aren't always the heroes. I think
Speaker 1: they'd rather I stick to being a wizard. You know,
Speaker 1: I wish that for you. We started this conversation talking
Speaker 1: about the anxiety you found dad. How did we start there?
Speaker 1: We started our therapy session and anxiety and we left
Speaker 1: in optimism. I think that's successful, So do I. Eddie Wrenman.
Speaker 1: I wish you luck, I wish you love, thank you,
Speaker 1: thank you, we did it, thank you so lovely. Yeah,
Speaker 1: I'm sweating and that's our show special thanks to Carry
Speaker 1: Gordon and Emma eels At lead the team at Netflix,
Speaker 1: and of course, Eddie Redmain. His new film The Good
Speaker 1: Nurse is now playing in theaters across the country. You'll
Speaker 1: also be able to stream the film on Netflix October
Speaker 1: twenty six. To learn more about Eddie and his work,
Speaker 1: visit our show notes at talk easypod dot com. If
Speaker 1: you enjoy today's conversation, I imagine you would enjoy our
Speaker 1: talks with actors like Ethan Hawk, Kate Blanchet, Pedro Pascal,
Speaker 1: Amanda Seifred, Tessa Thompson and Matthew McConaughey. To hear those
Speaker 1: and more, pushkin Podcast listen on the iHeartRadio app, Apple Podcast, Spotify,
Speaker 1: over wherever you like to listen. You can also follow
Speaker 1: us on Twitter, Facebook, Instagram at talk easypod. If you
Speaker 1: want to support our show by purchasing one of our
Speaker 1: mugs they come in cream or Navy, you can do
Speaker 1: so at talk easypod dot com slash shop. As always,
Speaker 1: Talk Easy is produced by Caroline Reebok. Our executive producer
Speaker 1: is Jennick Sobravo. Our associate producer is Caitlin Dryden. Today's
Speaker 1: talk was edited by Clarise Gavara and mixed by Andrew Vastola,
Speaker 1: who was engineered by Clay Hillenberg at iHeart Studios in
Speaker 1: Los Angeles, California. Our assistant editor is Lindsay Ellis. Music
Speaker 1: by Dylan Peck, Illustrations by Chrisia Schanoy, Photographs by Jenna Jones,
Speaker 1: Video and graphics by Ian Chang, Derek gaberzach Ian Jones,
Speaker 1: Ethan Seneca and Laila Register. Special thanks to Patrice Lee
Speaker 1: klin Ung and Paulina Suarez. I'd also like to thank
Speaker 1: the team at Pushkin Industries, Justin Richmond, Julia Barton, John Snars,
Speaker 1: Karrie Brody, David Glover, Heather Faine, Mia LaBelle, Eric Sandler,
Speaker 1: Nicole Morano, Maggie Taylor, Morgan Ratner, Jorda McMillan, Isabella Navarrez,
Speaker 1: Maya Kaney, Carl Migliori, Jason Gambrell, Malcolm Cladwell, and Jacob Weisberg.
Speaker 1: I'm Sama Fragoso. Thank you for listening to talk Look Easy.
Speaker 1: I'll see you back here on Wednesday for a special
Speaker 1: midweek episode with Nick Kroll. Until then, stay safe and
Speaker 1: so on.