Oscar Isaac

But also, it's a very specific kind of performance.

He said, you know, it's not naturalistic.

It's heightened.

I want speed of language, speed of thought.

There's not a lot of pausing for you guys.

It's kind of high camp.

and high melodrama and just all heart.

Like that's what he wants it to be.

No, he didn't want to do that so much.

We did have one big...

Table read with, like, the execs and all that.

And that was it.

I mean, you know, because he was quite protective of the script as he was writing it.

You know, I think partly out of just, like, a little insecurity as well.

Like, I'm not sure it's quite there yet.

And so he kept adjusting.

And, I mean, every day he was working.

Like, even behind the monitor, he was drawing his –

storyboards he would be quilting the movie as we went along like sometimes you would do a take and he would like put it right into the flow of the edit so he would just show you like we did the last scene of the movie and the next day he came in with you know Johan Johansson music on it and showed the edited scene to me how did you like that or how did it affect what you were doing

Well, I mean, that example in particular was interesting because, you know, it was the last scene of the movie.