Jesse Eisenberg

I am. But, you know, Kieran, I was like technically his boss, but because the nature of our characters in the movie, where he's like constantly condescending to me and making fun of me, he would do that like in between takes. Yeah. And so I did not have one feeling on the set, one day, of feeling, like, in control.

I am. But, you know, Kieran, I was like technically his boss, but because the nature of our characters in the movie, where he's like constantly condescending to me and making fun of me, he would do that like in between takes. Yeah. And so I did not have one feeling on the set, one day, of feeling, like, in control.

He was constantly just like... So he'd be kind of mean to me in a take, and then we'd call cut, and then he'd say, what stupid shot are you going to do now? And so, like, I had no experience of feeling, you know, I guess, good.

He was constantly just like... So he'd be kind of mean to me in a take, and then we'd call cut, and then he'd say, what stupid shot are you going to do now? And so, like, I had no experience of feeling, you know, I guess, good.

I truthfully don't know. He came to the set a day before shooting. He was like, gave this unbelievable performance. I don't know if he read the script before he got to Poland, like before shooting. He sleeps like two hours a night. He was walking around Poland all night. I don't know. We got a call that his mattress was on the floor. Like he's so unusual and so brilliant. And so it was so great.

I truthfully don't know. He came to the set a day before shooting. He was like, gave this unbelievable performance. I don't know if he read the script before he got to Poland, like before shooting. He sleeps like two hours a night. He was walking around Poland all night. I don't know. We got a call that his mattress was on the floor. Like he's so unusual and so brilliant. And so it was so great.

I just didn't want to tell him like, hey, could you be nice? Because he was so great in the movie. Yeah. He's nice. He's nice. He's a lovely, lovely person. But this dynamic we had was so all-encompassing that I didn't know how to separate out what was, like, the character and what was him or what was I doing.

I just didn't want to tell him like, hey, could you be nice? Because he was so great in the movie. Yeah. He's nice. He's nice. He's a lovely, lovely person. But this dynamic we had was so all-encompassing that I didn't know how to separate out what was, like, the character and what was him or what was I doing.

Maybe I was also being self-deprecating in a punishing way because I was playing my role. I don't know.

Maybe I was also being self-deprecating in a punishing way because I was playing my role. I don't know.

No. I mean, I don't, like, improv. You know, I'm not going to come up with something, like, funny, you know, on the set. You know, so, I mean, maybe. But it's like, you know, it's always, like, last-minute jokes that people improvise about spaghetti. You know, something stupid. But, like... As somebody who spent 30 years of my life doing improv, I want to tell you, that is spot-on.

No. I mean, I don't, like, improv. You know, I'm not going to come up with something, like, funny, you know, on the set. You know, so, I mean, maybe. But it's like, you know, it's always, like, last-minute jokes that people improvise about spaghetti. You know, something stupid. But, like... As somebody who spent 30 years of my life doing improv, I want to tell you, that is spot-on.

Right, yeah.

Right, yeah.

He's loose, but like he, you know, you know, he wouldn't stand on a mark I gave him. So I had spent like, you know, three months in Poland with my amazing Polish cinematographer, you know, blocking out the shots and shot listing.

He's loose, but like he, you know, you know, he wouldn't stand on a mark I gave him. So I had spent like, you know, three months in Poland with my amazing Polish cinematographer, you know, blocking out the shots and shot listing.

And you have an idea of, you know, all of the, you know, this character standing here because the tree is on their left, which represents the, you know, lack of roots in their life, whatever. And, you know, and Kieran's like, I'm not going to stand anywhere near there. And I'm like, where are you going to stand? And he was like, I don't know. Let's shoot it. See what happens.

And you have an idea of, you know, all of the, you know, this character standing here because the tree is on their left, which represents the, you know, lack of roots in their life, whatever. And, you know, and Kieran's like, I'm not going to stand anywhere near there. And I'm like, where are you going to stand? And he was like, I don't know. Let's shoot it. See what happens.

So like, but he was so good. He's so brilliant. You just said, okay, yeah, let's just follow him. And I can't make this great rootless metaphor anymore. You film at a concentration camp in Poland. What is that process like? It took a long time to get access.

So like, but he was so good. He's so brilliant. You just said, okay, yeah, let's just follow him. And I can't make this great rootless metaphor anymore. You film at a concentration camp in Poland. What is that process like? It took a long time to get access.