- 6/17/2025
'The Day of the Jackal' star Eddie Redmayne sat down with THR's Chris Gardner for a discussion about the Peacock series in a THR Q&A powered by Vision Media.
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00:00Welcome to THR Presents. My name is Chris Gardner, and I'm joined today by the Oscar-winning star
00:10and executive producer of The Day of the Jackal, Eddie Redmayne. Eddie, how are you?
00:15I'm good. How are you?
00:16I'm doing great. I'm so excited both to see you and for the opportunity to ask you a bunch of
00:22questions. I'll make you a couple promises. I'll try to be respectful of your time, which is going
00:26to be very difficult because I have a million questions about this brilliant series. And also
00:31we're going to do this with no spoilers, because I know a lot of people are still finding their way
00:36to the series. So we've got to do that, even though that will also be tough because the body count is
00:42kind of high.
00:43Yeah, I'm not very good at the non-spoiler thing. So just indicate to me a bit of that if I'm talking
00:49too much. So we'll see what we can do.
00:51Yeah, we'll work out some sort of a stopper there. But first of all, congratulations.
00:58It's so nice to be talking about this series still six months later. What is this like for
01:03you to still be having conversations about the series because it is so ambitious for you
01:08and it is your first foray into television in quite some time?
01:11The thing that I hadn't preempted was the amount people talk about it. And by that, having not done
01:19television for a while, you know, when you make films and particularly, you know, films
01:24that have gone streamers, there's not that sort of one moment when everyone is watching
01:30it. And so what I was shocked by was as The Jackal came out and it started in one block
01:39and then came out weekly, that kind of water cooler aspect. And I guess stopped by people
01:44on the street or, and they would just want to drill down. And it's rare that you have
01:50such an open conversation. And that really was thrilling. I love it. And I love that people
01:58are still talking about it.
01:59Wow. And what was the most common thing that people were saying to you when they would stop
02:03you? Were they trying to, were they, were they trying to talk about spoilers and see?
02:07They were definitely trying to talk about spoilers. I became, because we made it such a long time
02:12ago. And then even though we've been in the edit, I got confused as to what episodes had
02:16come out and was desperately trying not to kind of ruin everyone's time. But a lot of
02:21it was about the, I suppose the kind of, you know, I think of The Jackal in some ways as
02:27an actor and the fact that it was about things like the makeup and about the, about the languages
02:33and about the, all the kind of craft elements that make, I think the character sort of different
02:40from other characters in this genre and, and yeah, unique.
02:44Yeah. Well, I'm going to take some pointers from those people that were stopping on the
02:48street. Cause I do want to talk to you about the, all the craft elements, the languages and
02:52the prosthetics and also the wardrobe and how that informed your character, but I'm getting
02:56ahead of myself now. So I want to start a little bit back at the beginning, because I know when
03:00this project came your way, initially you received the first three scripts. So take me back to that
03:06moment. What is the Eddie Redmayne process when you receive three scripts? What did you read
03:10them back to back? And then what was your initial reaction? Who was your first phone call? Tell
03:15me the whole story.
03:17Well, Chris, I was sitting at this desk and I was looking at this computer and I was reading
03:23Ronan's scripts when it came into my inbox. And the title was the day of The Jackal. I took
03:28a sort of sharp breath. I grew up, it was one of the VHSs that my dad or my parents were both
03:34obsessed with. I don't know. I feel like our family, we had three films that we'd watch back
03:39back and, and the day of The Jackal was one of them with Edward Fox, the cinema movie. And so
03:43when the scripts arrived, there was hesitation because you don't want to butcher something you
03:50love. And, but then when I opened and started reading, Ronan had completely updated it. So it
03:57felt of a different world. And, but at the same point, it had this analog, slightly old school
04:04quality to it, which was a throwback to those films from the seventies, sixties, those kinds
04:10of, those genre, um, thrillers that I adored when everything was about the making. It was
04:18about, it was about, I mean, this is a ridiculous thing to say, but walking down the street and,
04:23you know, checking reflections in sunglasses or mirrors. And, and, and it wasn't about explosions
04:29and computers and, um, and I adored that, I think. And so that I found really refreshing.
04:36And I spoke to Brian, our director and, and Ronan, and it, I always run on instinct and
04:44I just wanted to know what happened after episode three. And I thought if that is, if that, if
04:49that, if it's as addictive to me, hopefully if we don't butcher it, the audience will retain
04:54that. But also, you know, it's, it's an actor's dream. It's sort of, I described this show as
05:00a sort of actor's playground. You, all the things that when you're little, the reason you
05:04get into acting, changing your voice, doing accents, doing languages, changing the way
05:11you look, makeup, you know, stunts, all of that. It really, but also this sort of quite
05:19intense depth of emotion. It had everything. And so it was a very easy yes for me.
05:25Yeah. I mean, it did seem, I can see why it was an easy yes. And for you and, and just
05:31that, that, that phrase you just said, an actor's dream is something I thought about so much
05:35because maybe, you know, uh, uh, there, there might not be any slapstick comedy, but it has,
05:42it has literally everything else that, that you could want to do in a project. Um, and so
05:48tell me though, but also it's, it's a huge challenge too. Um, and trepidation is a word
05:54that I think a lot of you have used you and then some of the fellow executive producers and other
06:00people involved in the creative team, just because it is such iconic source material. So tell me,
06:06you know, obviously it's an actor's dream, but there, there were some, you know, reservations
06:09initially because it is so iconic. So tell me a little bit about that and, and what you, what you
06:14felt about, about the trepidation. Well, I think Edward Fox had made such an indelible mark in the
06:20cinema movie. Um, and what's really extraordinary if you go and rewatch that performance is it's just
06:27a, it's a performance of pure, uh, charisma, silent charisma. You know, he says very little,
06:34you learn nothing about him. And yet he sustains your intrigue for those, those, um, few hours.
06:42This of course is 10 hours and it was when I began to see the backstory, but it didn't feel
06:49tacked on. It actually felt like it deepened this, this, this character and it allowed me to find
06:56other colors, um, that relieved me of the trepidation. Um, but it's also something, you know,
07:04when I did Les Mis, it was everyone's favorite movie, you know, we do Fantastic Beasts,
07:08everyone loves Harry Potter. Like, you know, they're there when you play Stephen Hawking,
07:12you know, he's going to watch it there. Every job I do always feels like the hardest or always
07:19feels like the stakes are the highest. And, um, and so I think I consoled myself with the fact
07:25that it was a familiar. And is that part of the thrill for you when you have something that may seem
07:32a little scary or that a lot of eyeballs are already on before you even step on set?
07:36Yeah, I think so. I think so. And definitely those first days of, you know, I remember our first Zoom
07:43read through of this and sort of thinking, you know, that, that, that, how did it go? Is this the world
07:49you imagined? Because I think, um, what's interesting is when you're starting out as an actor, you audition
07:55for everything and, you know, anything you get, you do, but they've also seen some sense of what
08:00you're going to do when you get cast, um, without auditioning. I don't know if I'm the only actor
08:06that feels like it was definitely on day one on set. You open your mouth and you do your first scene
08:12or you're waiting for the, the, the, the, the sort of response is like, is that how you imagined
08:16I do it or is that how I completely, uh, so there is that, that, that trepanation kicks in as well.
08:24Yeah. Well, you're also known for a lot of preparation before you even get to set and,
08:29and they call action. So can you talk a little bit about what your preparation was like for this
08:34and how it may have been different because you're playing so many different parts and so many
08:40different shades and there's a lot of nuance to who he is and both in, in the context of
08:46what his job is, but also who he is in his family life and all of that. So what was your
08:51preparation? I mean, it was, uh, how you prep as an actor is, is so strange and it's so specific
08:59to each person. And I never went to drama school. So I've always sort of felt that I've, I've learned
09:05from other actors and, and, and that process shifts and changes over the years. There are a few
09:10sort of markers of roles you play that perhaps give you techniques. So for example, when I play
09:15Stephen Hawking, I knew that I needed a team. So I worked with a movement director, Alex Reynolds,
09:21a brilliant makeup designer, Jan Sewell, a vocal lady. And, and what's brilliant is that that gave
09:34me a framework with which to approach a character like this. So I worked with Alex, the movement
09:38director. The thing that I realized from theory of everything is that that team has to work together.
09:43So you can do an amazing prosthetic, our makeup designer, Mel and our prosthetics designer,
09:49Richard created these, but if that doesn't marry with your physicality or your voice,
09:55or perhaps the, the, the costuming and the suits or the, the way it's shot, the cinematography,
10:02those things all have to align. And what I loved and what, and is that teamwork and, and I was a
10:09producer on this. And so making sure that all of us were talking and that the best idea wins
10:15really. And that everyone's helping each other because the work that the costume does affects
10:20what the cinematography is doing, which affects what the makeup's doing. And so those were the,
10:26we did have, I had four months to learn some of the languages, to learn, to, to work through
10:32prosthetic ideas and we try to test everything. Uh, and that can be tricky. And when, when there's a,
10:38a momentum to the making of something and, and, and finding that time was important to me.
10:44Hmm. And, um, when you are having those conversations and, and sort of thinking about
10:51how to transform into who the Jackal becomes, is it, what, what's the process? Maybe this is too,
10:56of an, too much of an actory question, but like, how do you approach maintaining the core character
11:01of who he is while putting on these extra elements to sort of hide that? Or, or is that not even part
11:09of the process? Cause you're just, he himself is shape-shifting. Well, I think that that, I mean,
11:15I found that there's almost this sort of, you know, he's, he, he's addicted to it. Um,
11:23and what I loved was that actually you only begin to reveal elements of this character
11:28by the different characters he inhabits and the different people he interacts with. So it was
11:35really important for me, for example, and those who haven't seen it later in the series, you meet
11:39his gun maker and there's a kind of father, son or elder brother, younger brother chemistry to the
11:46two of them that, that, that is more jocular. And so, so suddenly you see him rather than him being
11:51completely in this sort of focused place or, or, um, Nuria played by Ursula brings out this,
11:57this kind of warmth in him or a gentleness that, that is, that is, and that, that if you see or
12:04get flashes of these different facets that are like strongly juxtaposed with this cold ruthlessness
12:11and that, that sociopathy in some ways, that, that was what was, um,
12:21compelling to me.
12:23And how compelling was it for you to play that, those cold shades of him? Because I think that's
12:28one of the things that so many people initially respond to is, you know, is seeing Eddie Redmayne
12:33as like a cold, like the coldest, most ruthless assassin. It's something, there's something so
12:40thrilling about it too, just to see you become that. And, and also, I mean, you mentioned it,
12:45you know, that brotherly moment that he has with his gun maker, there is a moment there too,
12:49where he turns cold on him. No, no spoilers there, but, but it is, but I found that like
12:55just those, those moments where you, where you turn, where the jackal turns from one moment
13:01to the next to, to do that. So, so how was that for, for you to play, to play that coldness
13:05of him?
13:06I mean, it was pretty, uh, it was thrilling, honestly. It's weird that I, I started my career
13:16playing sociopaths, uh, on, in sort of American indie films, which very few people have seen.
13:23And then I got into sort of period dramas. So I'm playing, you know, whether it's scientists
13:30or, or, um, eccentric characters. So you sort of get known for these things, but actually
13:36there are these other colors that you've got to mine. And I was very grateful. Actually,
13:39I think that, uh, it was a film I did, uh, Tobias Lindholm film called The Good Nurse, which
13:44I did with Jess Chastain, that the, the, the director Brian saw in which I was playing this
13:51very terrifying man, Charles Cullen, and that opened their eyes to the fact that perhaps
13:56this could be territory I investigate, but you always think as an actor that you know
14:02that you've got these different colors to express, but you forget that not everyone, you
14:06know, you don't know how people see you from the outside. So it's, um, it's sometimes hard
14:14to disrupt those expectations.
14:16Yeah. Yeah. Forgive me. Cause the, the, the Good Nurse was, was such a brilliant, um, uh,
14:21project in itself and, and you were so cold in that as well. Um, but I do think that the
14:26Day of the Jackal has the highest body count of any, Eddie, Eddie Redmayne.
14:30That is, that is probably true. I feel like there's, but there's, there's something that
14:36I, that, you know, that married between the two, which was what I liked about The Good Nurse
14:43is, it never gives a reason as to why a child, this, this idea that as audiences, we want
14:49to know someone, why someone behaves the way they do it. And we want a, uh, compact, comprehensible
14:56reason that makes us feel safe. Go, oh, this person's a sociopath because of this, you know,
15:00and they behave, phew, so I can relax because that's not, and, and the Good Nurse refused to
15:05give that. And, and I feel like the Jackal sort of does the same. It's sort of, it teases
15:10an audience into his backstory and senses of where he may have come from, but it's never,
15:16it's hasn't given a kind of, and this is why he behaves like he does. You know, it's, it's
15:22sort of, I think that's important because human beings are too complex for that.
15:26Yeah. And do you, that's a good, that's a good segue for me. Cause I was just going to
15:30ask you because, because he's so ruthless and he has this job to do, um, but he's so
15:36good at it. So there's, there's a part of you as a viewer, part of me as a viewer, when
15:40I was watching it, that I was rooting for him. Um, so tell me how you, how you approach
15:45that because you're, you're, you're not glamorizing what he does and you're also not giving too
15:50much away to like lead the audience in one direction or another, but are you thinking to,
15:55of, of wanting, you know, people to be on his side or wanting, what are you thinking about?
16:02I mean, the amazing thing about the original movie is that it's two hours and Edward Fox
16:07manages to saying very little and doing horrendous things really just, you just keep wanting to get
16:16inside. You want to get inside it. And, um, and I felt that the big challenge of this was that
16:23threading the needle of playing a character that was doing horrific things, but that somehow you
16:29felt warm to or at moments and, and, and then repelled by and, and, but similarly, what I liked
16:36about the structure of the series is that the Shana's character, Bianca, similarly was in theory
16:41on the side of good, but was doing some pretty horrific things. Equally the, the target, the, the
16:47sort of tech, um, baron on one hand, he's looking for transparency, which seems like a noble thing
16:54to ask for, whilst at the same time, he's clearly got serious ego power issues. And, and I love that,
17:02that, that, um, blurry moral terrain. Uh, it, it was, it was definitely the, the high, the biggest challenge
17:13of the piece was, was threading that needle though. And, and, but also it was about in each scene, each
17:19character that he interacts with, he does have a charm and he has a sort of politeness and a grace
17:25and a wit to him that, um, yeah. What I found weird though, and, and was, I really wanted him to be
17:35elegant and economic and I love the craft. I love watching things, you know, put together and it's
17:44all, you know, and yet I'm not that person. So, I mean, I can't tell you how long I spent working
17:49with the prop, which was the, the sniper rifle. And the first thing I took that, that case to my
17:56hotel room and I just spent days putting on classical music, going over, trying to make it as
18:02elegant as possible. There was one horrendous occasion in which I left it, having constructed
18:07it, I left it on my hotel desk, went down for supper, halfway through supper, I was eating goulash,
18:12we were in Hungary and I suddenly, I spilt as I suddenly remembered that there was a gigantic,
18:17to all intents and purposes, sniper rifle sitting in my hotel room and it was sort of turned down
18:21service time. And I managed to get to the room just before the, uh, the hotel staff did. But,
18:27but when we got, when it got to shooting that scene, I think that, and I love it in this, the
18:33series that it's all very smooth and sleek and that there could be a blooper reel of that, which
18:38was me just trying to make sense of it. Wow. Well, first of all, you, you avoided an international
18:47incident by getting that gun away before the turndown service. But, but I'm so glad you said that,
18:54because that was such a thrill to see you, uh, or to see the Jackal, you know, putting the gun
19:00together. I mean, it was a really sort of, those scenes are really hypnotic in a way. And you kind
19:04of just, as for me, again, just as a viewer disappear into watching him do his work and,
19:10and really marvel at, at the skill that that requires. So to know that there was a blooper reel
19:15out there, I, I, now I need to see it. Well, it was kind that Brian, our director,
19:20because I've been practicing in my hotel room with this piece of Mozart. When we came to shooting,
19:25I said, can we play that? Because I knew it was going to be scored after the event and he kindly
19:30played the music. So the whole set, so it did turn into a dance. And I, I got very in post-production,
19:37I was so working with the sound design team that the sound of each click and ting. And, you know,
19:44I love all of that because it, it, it, it, um, not, and it wasn't about romanticizing guns.
19:52It was for me, it was about the, the, the, the catharsis and the satisfaction of kind of,
19:57of old school craft of putting something together, because I was trying to portray the guy in order
20:03that you could suspend your disbelief as an audience, that he was this amazing prosthetics
20:07artist. So they had that, that, that he was an artist. Yeah. And wait, tell me how, you know,
20:13how all of this informs the performance because, you know, there is the, the, the skills that you're
20:20talking about of, of working with the guns, but there is also the prosthetics. There's the wardrobe
20:24that we haven't gotten to yet, just how it all kind of comes together to, you know, inform, uh,
20:31how you, how you slip into him. Well, having those few months of prep, you know,
20:35that's when you're a sponge and whether that is, you know, working with Richard, our prosthetics
20:40artist, but while he's, you know, when he scans my head and then creates this sculpture with which
20:45he's going to sculpt the prosthetics. And I see that in his studio and send a photo of that to
20:50Brian, our director, we need this in the show because this is how he would do it. But also the
20:55idea of that shot of the, of, of, of, of Nuria looking at the, the various mirrors of the jackal was kind
21:04of intriguing. Also Richard, our prosthetics artist had these amazing old clay tools in this
21:11wooden box that he used to sculpt. And I said, we should have, you know, those on, on set,
21:16but, uh, Natalie, our brilliant costume designer who, you know, she took me in the months leading
21:21up. She said, will you come for a costume fitting in Vienna? And I was like, that's the most jackal thing
21:26in the world. Of course I will. And she took me this amazing, um, tailors in Vienna that's 150 years
21:33old. It's called Knitze or that's probably mispronunciation, but it's this amazing tailors.
21:40It's Alfred Luce designed the building. They have log books of clothes worn by the Prince of Wales in
21:481850. And then as he gets older, like how his, how his measurements expand as he sort of eats more,
21:56they, they made the costumes or clothes for James Dean, Marilyn Monroe. And, but the space itself
22:03and the people there are so of a different era that really Natalie, as well as going,
22:08I want us to get some clothes from here was also going, you need to experience this because this is,
22:13this is the world that the jackal inhabits. And so I tried to make all of the prep
22:18be, you know, feed into this cauldron that you stew around as you're creating a character.
22:25Wow. God, what an experience, uh, that you got. Yeah. Um, you know, it's funny being an
22:30entertainment journalist, like what my Google searches are. And I have to tell you recently,
22:34they've been all the day of the jackal, including, um, does Eddie Redmayne speak French? Does Eddie
22:39Redmayne speak German? Um, because, because your accent is so brilliant at all of these languages,
22:48tell me also, you know, and that is part of the thing where you're rooting for him to see him slip
22:52out of these situations and then speak those languages, add so much to the, to the authenticity.
22:56What was that like for you to, to, you know, speak a couple of speak. I was trying to count how many
23:02you speak in this. I mean, I, I can tell you because the answer is I, it took quite a long work.
23:08I speak a little bit of French, so that was easier for me, but I don't speak any Spanish and I
23:13definitely don't speak a word of German. And, but it was, again, it was amazing, but it was such
23:19an interesting process because I had this wonderful, um, dialect coach language coach
23:23called Simone, who's based in Germany. And I was, she, I gave her these scenes.
23:29And then I said, look, this, if I were to say it in English, this is the tone. This is the attitude
23:35that I kind of want this character to have. And then she, because I don't speak a word of German,
23:40she would then translate that into German musically. Does that, does that make sense?
23:46Like the tone at the intonation of something. And, and that was a real trust exercise between
23:50the two of us. And so she would then send me these recordings and I would just walk around London.
23:54And I can still remember it's the only bit of script that I can remember for the whole thing,
23:57because I had to learn it literally note by note by note. But then the challenge with the initial
24:04character, the janitor is that, you know, I could speak his German in my own voice, like
24:13when you put on that prosthetic of a, of a sort of 70 year old chain smoker,
24:18that doesn't work anymore. So suddenly you were sort of doing this weird thing,
24:23which looked ridiculous when you were doing it without the prosthetic on, but
24:27we were trying to have to work out, is it too much or will it work with the prosthetic? Because
24:31prosthetics takes so long to put on and costs so much money that you don't actually get a huge
24:36amount of time to, you get very little time to work with them before you're being filmed.
24:41Um, but no, that language side was, it was a lot of fun. I kept saying, if you're going to write
24:47more scenes, can they be in French though? Because they're easier for me to learn.
24:52Uh, well, yeah, it's, I can see why, because your, your French accent, I was just in France a couple
24:56weeks ago and it was, it was perfect. Uh, you know, and listen, uh, no, I'm just going to throw
25:02a million compliments at you until the very end, but I know we only have a couple of minutes left.
25:06So I do want to say, you know, really no conversation about this show is complete without
25:10talking about Lashana Lynch. And also I thought, I thought Ursula was so brilliant as, as your,
25:16you know, your romantic interest here. Um, tell me, I know you didn't share a lot of scenes with Lashana
25:22for the bulk of the season, but what was it like to either watch her work or, or even see what she
25:28did when you weren't there? I mean, it was such a strange experience. I adore Lashana, but our,
25:34we literally saw each other over maybe 10 months. We saw each other maybe five times because we were
25:40shooting with two different crews going simultaneously. Our worlds were structurally
25:45completely apart and our friendship was really forged through the producing element. She has
25:50such stunning instincts, not just as an actor, but as a, as a producer. I mean, so many specific
25:55things like when we were talking about them, the music and finding a track for the opening sequence,
26:01it was her that suggested, uh, Celeste and, um, we were looking for someone that was timeless and yet
26:09completely contemporary. And, um, she's, I adore her and, and it was a real joy to go on that ride with her.
26:18Um, Ursula, I think is extraordinary and, and she brought such depth and emotional
26:27naughtiness to a character that on the page, there was, there was not a huge amount for her to grasp onto.
26:34And, um, but she interrogates in the most amazing way and kept pushing, kept pushing and pushing.
26:40And I love this idea of the Jackal's, um,
26:46controlledness as it, but even as it begins to unravel being challenged by this very passionate,
26:52very, um, instinctive person and working with her doing those scenes were really,
26:57you know, the, the, the heart of the piece in some ways.
27:00Yeah, it really was. You guys nailed it. And it really added such a different shade to this series
27:06and, and, and also had me on the edge of my seat, seeing how it was all going to play out in this,
27:11this kind of turbulent, but yet warm relationship. I have one more question. I'm going to make it a
27:16two-parter, which is sneaky, but, um, but you know, this is your first executive producer credit.
27:23Um, so congratulations to that. Um, do you see, first of all, how did that, you know, how did that,
27:29you know, title and also, you know, job duty change or influence this, this project for you?
27:34And then I'll, I'll let you do that first and then I'll get to the second part.
27:37I mean, it was, it was brilliant. It was formidably hard work that this, um, series was made by an amazing
27:47troop of people, but there were many stakeholders. It's, um, sky and peacock, our carnival, uh, universal
27:55and, and we all cared so passionately. Um, it was that, I think, I think there was something
28:05in that we really, really wanted to, we cared that it was, uh, uh, it pushed this adaptation or this,
28:14this, um, subject matter to a new place and, and, and these sorts of, um, stories or, or I don't know,
28:22what's the word? I hate the word, but IP, you know, they are valuable because if they get butchered,
28:27then, then you don't get to, people don't get to have another shot. So, and I cared massively also
28:31about the, this idea of it being, whilst being very contemporary, having this analog thing. So
28:39whether it was in the marketing or the, you know, each, each stage, I was pretty in the weeds and
28:46that's, but that's how I like to be as a, as an actor anyway. And I've always, in the films I've
28:51made, I've always been allowed that, um, that proximity to all the stages of the process. Um,
28:56here it was just formalized. Uh, so it was, it was wonderful.
29:01And then the second part, because you were, you were so in the weeds and you were executive
29:05producer and it is such an ambitious show that you did pull off. Let me say so brilliantly,
29:12how, how has this experience impacted or influenced what you want to do next or, or where you go from
29:17here? Um, it's, it's, wow, that is a very good question. I feel great pride in the show when, when,
29:30when you have used the whole of you rather than just the actor part of you, um, you feel so heavily
29:38invested. So when those people stop you in the street and say that, you know, this, they'd enjoyed
29:44this, you, you really, I think you hear it more than perhaps you would when you, what you're, you're
29:49more of a gun for hire. Um, it thrills me that people have, have, have loved it. Um, at the same
29:57point, it's completely all consuming. You know, I was doing sort of cabaret in New York and then,
30:01but in the mornings all day, I was working on the edits and on the marketing and on the, um,
30:08there's effects on the music and, and it's, it was quite sort of all encompassing. So definitely
30:13there is the appeal of just being a gun for hire again. And I was lucky just to go and do this,
30:18finish this film with Julia Roberts recently, um, in which I was very much just the actor. And,
30:24and that was refreshing in its own way, but it's sort of, it's given me the, the, the respite to
30:30get back into, to Jackal too. And, and we're now in the writers, you know, working on the scripts for
30:35that. So, um, I think it's a balance, honestly. Yeah. Well, if you're going to be a, just an actor
30:40for hire, I think working with Julia Roberts is, is, is fine. It's the best. Yeah. Yeah. And wait,
30:47and then now you, you, uh, you said Jackal too. So what, what to anyone who's watching this,
30:52that may, may be pining for, uh, what's next? What can you say?
30:57I can say nothing. Nothing. I can literally say nothing.
31:02I also just promised you two questions and I snuck another one.
31:05I know, but that's good. We're all liars. That's the, we live in a world of liars. I, um,
31:10what I can tell you is that I recently, we read the first, um, scripts and I just,
31:19Brian and I saw each other. We were both in Los Angeles and we were like children
31:24with excitement. And so I, I feel that this, I was so proud of what we worked on. Um,
31:30and I'm so excited to see if we can push it to another level.
31:34Well, I'm so excited for you, Eddie. Thank you. I think, uh, I think we got through it with no
31:39spoilers and also, uh, you know, I mean, did we, did we Chris? I don't really, you know,
31:44have to watch it back just to see. And I think, you know, I was, it was a respectable amount of
31:49time. Although I really am waiting for like the Eddie Redmayne, you know, episode by episode guide,
31:54because you, you could really dive deep into each one. I think a lot of people would, uh,
32:03you listen, congratulations. You're so brilliant in this and everything that you do, but there's
32:08something so, uh, amazing about this and to see you pull it off. Um, it was just such a thrill
32:13for me and I know for so many people. So thank you again for the time and, um, and thank you guys
32:19for tuning in to another episode of THR presents. Um, you can check out if you haven't seen the day
32:24of the jackal, first of all, what are you doing? Um, but second of all, you can remedy that now.
32:28It's now streaming on Peacock and we'll see you next time.
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