- 12 hours ago
'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.
Category
🎥
Short filmTranscript
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.
00:52Yeah, we'll work out some sort of a stopper there.
00:56But first of all, congratulations. It's so nice to be talking about this series still six months
01:02later. What is this like for you to still be having conversations about this series because
01:06it is so ambitious for you and 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 that
01:24have gone streamers, there's not that sort of one moment when everyone is watching it or
01:31and so what I was shocked by was as The Jackal came out and it's, you know, it started in one
01:38block and then came out weekly, that kind of water cooler aspect. And I guess stopped by people on the
01:45street or, and they would just want to drill down. And it's rare that you have such an open
01:51conversation. And that really was thrilling. I love it. And I love that people are still talking
01:58about 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 come out and
02:17was desperately trying not to kind of ruin everyone's time. But a lot of it was about the,
02:23I suppose, the kind of, you know, I think of The Jackal in some ways as an actor and the fact that
02:28it was about things like the makeup and about the, about the languages and about the, all the kind
02:35of craft elements that make, I think the character sort of different from other characters in this
02:41genre. And, and yeah, unique.
02:44Yeah. Well, I'm going to take some pointers from those people that were stopping on the street,
02:48because I do want to talk to you about the, all the craft elements, the languages and the
02:52prosthetics and, and also the wardrobe and how that informed your character. But I'm getting ahead
02:56of myself now. So I want to start a little bit back at the beginning, because I know when this
03:01project 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 them
03:10back to back? And then what was your initial reaction? Who was your first phone call? Tell me the
03:16whole 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 a sort of
03:28sharp breath. I grew up, it was one of the VHSs that my dad or my parents were both obsessed
03:34with. I don't know, I feel like our family, we had three films that we'd watch back to back
03:39and, and The Day of the Jackal was one of them with Edward Fox, the cinema movie. And so when
03:44the scripts arrived, there was hesitation because you don't want to butcher something you love.
03:50And, but then when I opened and started reading, Ronan had completely updated it. So it felt
03:57of 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 kind
04:10of genre thrillers that I adored when everything was about the making. It was about, it was
04:19about, I mean, this is a ridiculous thing to say, but walking down the street and, you
04:23know, checking reflections in sunglasses or mirrors. And it wasn't about explosions and
04:29computers. And I adored that, I think. And so that I found really refreshing. And I spoke
04:37to Brian, our director and, and Ronan, and it, I always run on instinct and I just wanted
04:45to know what happened after episode three. And I thought if that is, if that, if that,
04:49if it's as addictive to me, hopefully if we don't butcher it, the audience will retain that.
04:54But also, you know, it's, it's an actor's dream. It's sort of, I described this show as a sort
05:00of actor's playground. You, all the things that when you're little, the reason you get into
05:04acting, changing your voice, doing accents, doing languages, changing the way you look
05:11makeup, you know, stunts, all of that, it really, but also this sort of quite intense depth
05:20of emotion. It had everything. And so it was a very easy yes for me.
05:26Yeah. 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
05:35so much because maybe, you know 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. And so tell
05:48me though, but also it's, it's a huge challenge too. And trepidation is a word that I think
05:55a lot of you have used you and then some of the fellow executive producers and other people
06:00involved in the creative team, just because it is such iconic source material. So tell
06:05me, you 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,
06:14what you felt about, about the trepidation.
06:16Well, I think Edward Fox had made such an indelible mark in the cinema movie. And what's really
06:24extraordinary, if you go and rewatch that performance is, it's just a, it's a performance
06:29of pure charisma, silent charisma. You know, he says very little, you learn nothing about
06:36him. And yet he sustains your intrigue for those, those few hours. This of course is 10
06:43hours. And it was when I began to see the backstory, but it didn't feel tacked on. It actually felt
06:51like it deepened this, this, this character and it allowed me to find other colours that relieved
07:00me of the trepidation. But it's also something, you know, when I did Les Mis, it was everyone's
07:06favourite movie, you know, we do Fantastic Beasts, everyone loves Harry Potter. When you play Stephen
07:11Hawking, you know, he's going to watch it. Every job I do always feels like the hardest or always
07:19feels like the stakes are the highest. And, and so I think I consoled myself with the fact that it
07:26was a familiar feature. And is that part of the thrill for you when you have something that may
07:31seem a 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
07:42zoom read through of this and sort of thinking, you know, that, that, that, how did it go? Is this the
07:49world you imagined? Because I think, um, what's interesting is when you're starting out as an actor,
07:54you audition for everything and, you know, anything you get, you do, but they've also seen some sense of
08:00what you'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, uh, you open your mouth and you do your first
08:11scene or you're waiting for the, the, the, the, the, the sort of response is like, is that how you
08:16imagined that doing or is that, is that like completely, uh, so there is that, that, that
08:21trepanation kicks in as well. Yeah. Well, you're also known for a lot of preparation before you even
08:28get to set and, and they call action. So can you talk a little bit about what your preparation was
08:33like for this and how it may have been different because you're playing so many different parts
08:39and so many different shades and there's a lot of nuance to who he is and both in, in the context
08:46of what 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 to
08:59each 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 sort
09:10of markers of roles you play that perhaps give you techniques. So for example, when I play Stephen
09:16Hawking, I knew that I needed a team. So I worked with a movement director, Alex Reynolds, a brilliant
09:22makeup designer, a vocal, uh, uh, uh, uh, lady. And, uh, and what's brilliant is that that gave me a
09:34framework with which to approach a character like this. So I worked with Alex, the movement director.
09:39The thing that I realized from theory of everything is that that team has to work together. So you can
09:45do an amazing prosthetic on makeup designer, Mel and our prosthetics designer, Richard created these
09:49brilliant, but if that doesn't marry with your physicality or your voice, or perhaps the, the,
09:57the costuming and the suits or the, the way it's shot, the cinematography, those things all have to
10:04align. And what I loved and what, and is that teamwork and, and I was a producer on this. And so
10:11making sure that all of us were talking and that the best idea wins really. Um, and that everyone's
10:17helping each other because the work that the costume does affects what the cinematography
10:21is doing, which affects what the makeup's doing. And, um, so those were the, we did have,
10:27I had four months to learn some of the languages, to learn, um, to, to work through prosthetic
10:32ideas 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 because 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 focus 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 get flashes of these
12:05different facets that are like strongly juxtaposed with this cold ruthlessness and that, that sociopathy
12:16in some ways, that, that was what was, um, compelling to me. And how compelling was it for you to play
12:25that, those cold shades of him? Because I think that's one of the things that so many people initially
12:30respond to is, you know, is seeing Eddie Redmayne as like a cold, like the coldest, most ruthless
12:37assassin. It's something, there's something so thrilling about it too, just to see you become
12:42that. And, and also, I mean, you mentioned it, you know, that brotherly moment that he has with
12:47his gun maker. There is a moment there too, where he turns cold on him. No, no spoilers there, but, but it
12:54is, but I found that like just those, those moments where you, where you turn, where the jackal turns
13:00from one moment to the next to, to do that. So, so how was that for, for you to play, to play that
13:05coldness of him? I mean, it was pretty, uh, it was thrilling, honestly. It's weird that I, I started my
13:15career playing sociopaths, uh, on, in sort of American indie films, which very few people have
13:23seen. And then I got into sort of period dramas. So I'm playing, you know, whether it's scientists or,
13:30or, um, eccentric characters. So you sort of get known for these things, but actually there are
13:36these other colors that you've got to mine. And I was very grateful. Actually, I think that, uh,
13:40it was a film I did, uh, Tobias Lindholm film called The Good Nurse, which I did with Jess Chastain,
13:45um, that the, the, the director Brian saw in which I was playing this very terrifying man,
13:53Charles Cullen, and that opened their eyes to the fact that perhaps this could be territory
13:57I investigate, but you always think as an actor that you know that you've got these different
14:03colors to express, but you forget that not everyone, you know, you don't know how people
14:07see you from the outside. So it's, um, it's sometimes hard to disrupt those expectations,
14:15yeah. Yeah. Forgive me. Cause the, the, the good nurse was, was such a brilliant, um, uh, project
14:21in itself. And, and you were so cold in that as well. Um, but I do think that the day of the jackal
14:27has the highest body count of any Eddie, Eddie Redmayne.
14:30That is, that is, that is probably true. I feel that's true. There's, but there's, there's something
14:36that I, that, you know, that married between the two, which was what I liked about the good
14:42nurse is it never gives a reason as to why a child, this, this idea that as audiences,
14:48we want to know someone, why someone behaves the way they do it. And we want a, uh, compact,
14:55comprehensible reason that makes us feel safe. Go, oh, this person's a sociopath because of this,
15:00you know, and they behave, phew, so I can relax because that's not, and, and the good nurse
15:04refused to give that. And, and I feel like the jackal sort of does the same. It's sort of,
15:10it teases an audience into his backstory and senses of where he may have come from, but it's never,
15:16it's, it hasn't given a kind of, and this is why he behaves like he does. You know, it's,
15:22it's sort 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 ask you
15:30because, because he's so ruthless and he has this job to do, um, but he's so good at it. So there's,
15:37there's a part of you as a viewer, part of me as a viewer, when I was watching it, that I was
15:41rooting for him. Um, so tell me how you, how you approach that because you're, you're, you're not
15:47glamorizing what he does and you're also not giving too much away to like lead the audience
15:52in one direction or another, but are you thinking too, of, of wanting, you know, people to be on
15:59his side or wanting, what are you thinking about? Yeah. I mean, the amazing thing about the original
16:04movie is that it's two hours and Edward Fox manages to saying very little and doing horrendous
16:13things really just, you just keep wanting to get inside. You want to get inside it. And, um,
16:19and I felt that the big challenge of this was that threading the needle of playing a character
16:26that was doing horrific things, but that somehow you felt warm to or at moments and, and, and then
16:34repelled by and, and, but similarly, what I liked about the structure of the series is that
16:38the Shana's character, Bianca similarly was in theory on the side of good, but was doing some pretty
16:43horrific things equally, the, the target, the, the sort of tech, um, baron on one hand, he's
16:51looking for transparency, which seems like a noble thing to ask for whilst at the same time, he's
16:56clearly got serious ego power issues. And, and I love that, that, that, um, blurry model terrain.
17:06Um, uh, it, it was, it was definitely the, the, the highest, the biggest challenge of the piece was,
17:14was threading that needle bone. And, and, but also it was about in each scene, each character that he
17:20interacts with, he does have a charm and he has a sort of politeness and a grace and a wit to him
17:26that, um, yeah. What I found weird though, and, and was, I really wanted him to be elegant and economic.
17:38And I love the craft. I love watching things, you know, put together and it's all, you know, and yet
17:45I'm not that person. So, I mean, I can't tell you how long I spent working with the prop, which was the,
17:51the sniper rifle. And the first thing I took that, that case to my hotel room and I just spent days
17:58putting on classical music, going over, trying to make it as elegant as possible as one horrendous
18:04occasion in which I left it, having constructed it, I left it on my hotel desk, went down for supper,
18:09halfway through supper, I was eating goulash, we were in Hungary. And I suddenly, I spilt as I
18:14suddenly remembered that there was a gigantic, to all intents and purposes, sniper rifle sitting in my
18:19hotel room and it was sort of turned down service time. And I managed to get to the room just before
18:25the, uh, the hotel staff did, but, but no, when we got, when it got to shooting that scene,
18:31I think that, and I love it in this, the series that it's all very smooth and sleek and that there
18:36could be a blooper reel of that, which was me just, ah, trying to, trying to make sense of it.
18:44Wow. Well, first of all, you, you avoided an international incident by getting that gun away
18:49before the turndown service. But, but I'm so glad you said that because that was such a thrill to
18:56see you, uh, or to see the Jackal, you know, putting the gun together. I mean, it was a really
19:01sort of, those scenes are really hypnotic in a way. And you kind of just, as for me, again,
19:07just as if you were disappearing to watching him do his work and, and really marvel at the skill that
19:12that requires. So to know that there was a blooper reel out there, I, I, now I need to see it.
19:18Well, it was kind that Brian, our director, because I'd been practicing in my hotel room
19:22with this piece of Mozart. When we came to shooting, I said, can we play that? Because
19:27I knew it was going to be scored after the event and he kindly played the music. So the
19:32whole set, so it did turn into a dance and I, I got very in post-production. I was so working
19:38with the sound design team that the sound of each click and ting. And, you know, I love
19:44all of that because it, it, it, it, um, not, it wasn't about romanticizing guns. It was
19:52for me, it was about the, the, the, the catharsis and the satisfaction of kind of, of old school
19:58craft of putting something together, because I was trying to portray the guy in order that
20:03you could suspend your disbelief as an audience, that he was this amazing prosthetics artist.
20:08And he had, that, that, that he was an artist, I suppose.
20:11Yeah. And wait, tell me how, how, you know, how all of this informs the performance because,
20:17you know, there is the, the, the skills that you're talking about of, of working with the
20:21guns, but there is also the prosthetics. There's the wardrobe that we haven't gotten to yet,
20:25just how it all kind of comes together to, you know, inform, uh, how you, how you slip into him.
20:33Well, having those few months of prep, uh, you know, that's when you're a sponge and whether
20:37that is, you know, working with Richard, our prosthetics artists, but while he's, you know,
20:42when he scans my head and then creates this sculpture with which he's going to sculpt the
20:46prosthetics. And I see that in his studio and send a photo of that to Brian, our director,
20:51we need this in the show because this is how he would do it. But also the idea of that shot of the,
20:57of, of, of, of Nouria looking at the, the various mirrors of the Jackal was kind of intriguing.
21:05Also, Richard, our prosthetics artists had these amazing old clay tools in this wooden box that he
21:12used to sculpt. And I said, we should have, you know, those on, on set, but, uh, Natalie, our
21:18brilliant costume designer who, you know, she took me in the months leading up, she said, will you come
21:22for a costume fitting in Vienna? And I was like, that's the most Jackal thing in the world. Of course I
21:27will. And she took me this amazing, um, tailors in Vienna that's 150 years old. It's called
21:35Knitze, or that's probably mispronunciation, but it's this amazing tailors. It's Alfred Luce
21:41designed the building. They have log books of clothes worn by Prince of Wales in 1850. And then as he gets
21:51older, like how his, how his measurements expand as he sort of eats more, they, they made the costumes
21:58or clothes for James Dean, Marilyn Monroe. And, but the space itself and the people there are so of a
22:05different era that really Natalie, as well as going, I want us to get some clothes from here was also
22:10going, you need to experience this because this is, this is the world that the Jackal inhabits. And so
22:15I tried to make all of the prep be, you know, feed into this cauldron that you stew around as you're
22:23creating a character. Wow. God, what an experience, uh, that you got. That's yeah. Um, you know,
22:30it's funny being an entertainment journalist, like what my Google searches are. And I have to tell you
22:34recently, they've been all the day of the Jackal, including, um, does Eddie Redmayne speak French?
22:39Does Eddie Redmayne speak German? Um, because, because your accent is so brilliant at all of
22:47these languages. Tell me also, you know, and that is part of the thing where you're rooting for him
22:51to see him slip out of these situations and then speak those languages. It adds so much to the,
22:55to the authenticity. What was that like for you to, to, you know, speak a couple of speak. I was trying
23:01to count how many you speak in this. I mean, I, I can tell you because the answer is I, it took quite
23:07long work. Um, I speak a little bit of French, so that was easier for me, but I don't speak any
23:13Spanish and I definitely don't speak a word of German. And, but it was, again, it was amazing,
23:18but, but it was such an interesting process because I had this wonderful, um, dialect coach,
23:22language coach called Simone, who's based in Germany. And I, well, 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
23:40of German, she would then translate that into German musically. Does that, does that make
23:46sense? Like the tone, the intonation of something. And that was a real trust exercise between the
23:50two 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
23:57thing, because I had to learn it literally note by note by note. But then the challenge with
24:03the, the initial character, the, the, the janitor is that, you know, I could speak his German
24:10in my own voice, like kind of, but when you put on that prosthetic of a, of a sort of 70 year
24:17old chain smoker, that doesn't work anymore. So suddenly you were sort of doing this weird
24:23thing, which looked ridiculous when you were doing it without the prosthetic on, but we were
24:28trying 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 cost so much money that you don't actually get
24:35a huge amount of time to, you get very little time to work with them before you're being
24:41filmed. But no, that language side was, it was a lot of fun. I kept saying, if you're
24:47going to write more scenes, can they be in French though? Because they're easier for me
24:50to learn.
24:51Well, yeah, it's, I can see why, because your, your French accent, I was just in France
24:56a couple of weeks ago and it was, it was perfect. And listen, no, I'm just going to throw a million
25:03compliments 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 talking
25:11about Lashana Lynch. And also I thought, I thought Ursula was so brilliant as, as you know,
25:17your romantic interest here. 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
25:28what she did when you weren't there?
25:29I mean, it was such a strange experience. I adore Lashana, but our, we literally saw
25:35each other over maybe 10 months. We saw each other maybe five times because we were shooting
25:40with two different crews going simultaneously. Our worlds were structurally completely apart
25:46and our friendship was really forged through the producing element. She has such stunning
25:51instincts, not just as an actor, but as a, as a producer. I mean, so many specific things
25:56like when we were talking about them, the music and finding a track for the opening sequence,
26:01it was her that suggested a Celeste and we were looking for someone that was timeless and
26:08yet completely contemporary. And she's, I adore her. And, and it was a real joy to go on that
26:17ride with her. Ursula, I think is extraordinary. And, and she brought such depth and emotion
26:26emotional naughtiness to a character that on the page, there was, there was not a huge
26:33amount for her to grasp onto. And, but she interrogates in the most amazing way and, and kept pushing,
26:39kept pushing and pushing. And I love this idea of the Jackal's, you know, controlledness as it,
26:48even as it begins to unravel being challenged by this very passionate, very instinctive person. And
26:55working with her doing those scenes were really, you know, the, the, the heart of the piece in some
26:59ways. Yeah, 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, but, but you know, this is your first executive producer credit. So congratulations
27:24to that. Do you see, first of all, how did that, you know, how did that, you know, title and also,
27:30you know, job duty change or influence this, this project for you? And then I'll, I'll let you do that
27:35first and then I'll get to the second part. I mean, it was, it was brilliant. It was
27:42formidably hard work that this series was made by an amazing troop of people, but there were many
27:49stakeholders. It's Sky and Peacock, Carnival, Universal, and, and we all cared so passionately.
27:58Um, it was that I think, I think there was something in that we really, really wanted to,
28:08we cared that it was, uh, uh, it pushed this adaptation or this, that this, um, subject matter
28:16to a new place and, and, and these sorts of, um, stories or, or, I don't know, what's the word?
28:22I hate the word, but IP, you know, they are valuable because if they get butchered, then,
28:27then you don't get to, people don't get to have another shot. So, uh, 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.
28:55Um, here it was just formalized. Uh, so it was, it was wonderful.
29:00Hmm. And then the second part, because you were, you were so in the weeds and you were
29:05executive producer 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 here?
29:19Um, it's, it's, wow, that is very good question.
29:25Question. I feel great pride in the show when, when, when you have used the whole of you rather
29:33than just the actor part of you, um, you feel so heavily invested. So when those people stop you
29:40in the street and say that, you know, this, they'd enjoyed this, you, you really, I think
29:47you hear it more than perhaps you would when you, what you're, you're more of a gun for hire.
29:51Um, it thrills me that people have, have, have loved it. Um, at the same point, it's completely
29:58all consuming. You know, I was doing sort of cabaret in New York and then, but in the mornings
30:02all day, I was working on the edits and on the marketing and on the, um, there's effects on the
30:09music and, and it's, it was quite sort of all encompassing. So definitely there is the appeal of
30:14just being a gun for hire again. And I was lucky just to go and do this, finish this film with Julia
30:19Roberts recently, um, in which I was very much just the actor and, and that was refreshing in
30:26its own way, but it's sort of, it's given me the, the, the respite to get back into, to Jackal too.
30:32And, and we're now in the writers, you know, working on the scripts for that. So, um, I think it's a
30:37balance, honestly.
30:38Yeah. Well, if you're going to be a, just an actor for hire, I think working with Julia
30:42Roberts is, is, is fine.
30:43I mean, it's the best.
30:45Yeah. Yeah. And wait, and then now you, you, uh, you said Jackal too. So what, what,
30:51to anyone who's watching this, that may, may be pining for, uh, what's next? What can you say?
30:57I can say nothing.
30:58Nothing.
31:00I can literally say nothing.
31:02I also just promised you two questions and I snuck another one.
31:05I know, but that's good.
31:06We're all liars.
31:07That's the one we live in a world of lies.
31:09I, um, what I can tell you is that I recently, we read the first, um, scripts and I just,
31:19Brian and I saw each other.
31:20We were both in Los Angeles and we were like children with excitement.
31:25And so I, I feel that this, I'm so proud of what we worked on.
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.
31:36I think, uh, I think we got through it with no spoilers.
31:39And also, uh, you know, I mean, did we, did we Chris?
31:43I don't really, you know, have to watch it back just to see.
31:46And I think, you know, I was, it was a respectable amount of time.
31:49Although 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.
31:56I promise.
31:57And that's just it.
31:57I think a lot of people would, uh, listen, congratulations.
32:05You're so brilliant in this and everything that you do, but there's something so, uh,
32:09uh, amazing about this and to see you pull it off.
32:11Um, it was just such a thrill for me and I, I know for so many people.
32:15So thank you again for the time and, um, and thank you guys for tuning in to another episode
32:20of THR presents.
32:21Um, you can check out if you haven't seen the day of the jackal, first of all, what are you doing?
32:26Um, but second of all, you can remedy that now.
32:28It's now streaming on Peacock and we'll see you next time.
Be the first to comment