Josh O'Connor

I had to read the script and then hand the envelope back to the guy on the motorbike.

Thankfully for the motorcyclist, I read it really quickly.

Normally I'm a very slow reader.

I have dyslexia.

But I managed to get through it pretty speedily.

And that's down to David Koepp's brilliant writing, Stephen's great storytelling.

But it was terrific.

And yeah, the secrecy around it is bizarre.

Not being able to tell anyone that you're doing a Steven Spielberg film is difficult.

Well, you know, the strange thing is that I suppose the trappings of a movie like this, and again, you know, this is from limited experience, obviously, but the trappings are different.

But the reality is the actual, the day-to-day making of a movie, the collaborative nature of making a movie is pretty much exactly the same.

And I think that's, I don't know if that's solely a Steven thing.

I mean, I think he, ultimately he is the filmmaker's filmmaker.

You know, he's always been around cameras and storytelling.

And so I think,

at the heart of his process, it's just, it's the same method.

It's, you know, how do we emote?

How do we look at the empathy?

How do we portray this story in the best possible way?

And so it's really strange.