Jeremy Strong

He writes in Hamlet, Shakespeare says, that use can almost change the stamp of nature. And I feel that actors, especially when you're attempting to do some kind of transformational work, which is the kind of work that I love the most and have been inspired by in my life the most, your job is to kind of change the stamp of your nature.

He writes in Hamlet, Shakespeare says, that use can almost change the stamp of nature. And I feel that actors, especially when you're attempting to do some kind of transformational work, which is the kind of work that I love the most and have been inspired by in my life the most, your job is to kind of change the stamp of your nature.

And voice is a really key part of that because there's something about a person's voice that is like their eyes. It's such a way in to that person.

And voice is a really key part of that because there's something about a person's voice that is like their eyes. It's such a way in to that person.

And voice is a really key part of that because there's something about a person's voice that is like their eyes. It's such a way in to that person.

I probably watched this a thousand times.

I probably watched this a thousand times.

I probably watched this a thousand times.

I mean, I don't think it's too strong a word. But, you know, you have to really check that at the door as an actor when you approach a role. You have to leave your judgments at the door and try to, in an almost diagnostic way, identify their wounds and their struggle, right? and then fight their fight the way they did.

I mean, I don't think it's too strong a word. But, you know, you have to really check that at the door as an actor when you approach a role. You have to leave your judgments at the door and try to, in an almost diagnostic way, identify their wounds and their struggle, right? and then fight their fight the way they did.

I mean, I don't think it's too strong a word. But, you know, you have to really check that at the door as an actor when you approach a role. You have to leave your judgments at the door and try to, in an almost diagnostic way, identify their wounds and their struggle, right? and then fight their fight the way they did.

I'm simply trying to inhabit him in a fully dimensional way, as you do for any character.

I'm simply trying to inhabit him in a fully dimensional way, as you do for any character.

I'm simply trying to inhabit him in a fully dimensional way, as you do for any character.

Yeah. At the end of the day, you know, it was something our director wanted to do and we discussed it and you pick your battles, but that was one of them for me. Yeah, he had this operation, this botched surgery. His mother, Dora, wanted to get his nose fixed because she felt that it was a Semitic nose and she wanted to get it fixed and instead they botched it and

Yeah. At the end of the day, you know, it was something our director wanted to do and we discussed it and you pick your battles, but that was one of them for me. Yeah, he had this operation, this botched surgery. His mother, Dora, wanted to get his nose fixed because she felt that it was a Semitic nose and she wanted to get it fixed and instead they botched it and

Yeah. At the end of the day, you know, it was something our director wanted to do and we discussed it and you pick your battles, but that was one of them for me. Yeah, he had this operation, this botched surgery. His mother, Dora, wanted to get his nose fixed because she felt that it was a Semitic nose and she wanted to get it fixed and instead they botched it and

And he was stuck with this sort of gash in the middle of his face for his whole life. And it's a sort of, you know, Ali Abbasir, director, who's a brilliant filmmaker, and he essentially has made these sort of monster movies. And so I think he saw this in the same way. And I felt that Roy is enough innately... a monster.

And he was stuck with this sort of gash in the middle of his face for his whole life. And it's a sort of, you know, Ali Abbasir, director, who's a brilliant filmmaker, and he essentially has made these sort of monster movies. And so I think he saw this in the same way. And I felt that Roy is enough innately... a monster.

And he was stuck with this sort of gash in the middle of his face for his whole life. And it's a sort of, you know, Ali Abbasir, director, who's a brilliant filmmaker, and he essentially has made these sort of monster movies. And so I think he saw this in the same way. And I felt that Roy is enough innately... a monster.