I imagine you’ve done this kind of intensive work before. She does this brilliant thing of helping with the physical through something emotional: It felt like all of his tension was being held up by the nape of his neck, as if he's being held up. Alexandra Reynolds is this amazing dancer that I first worked with on Theory of Everything-she came and I spent a day showing her all the footage I had. There are a few phone calls and things that we had that we could reference.
Then Michael Buster, who's a brilliant dialect coach I've worked with for years, he and I worked listening to Charlie's voice, trying to get a little of that sort of New Jersey-specific way of speaking. So, Charles Graeber described Charlie as looking like a “question mark.” That was so revelatory to me because it was not only a physical thing, which you can see in all the footage it's just this blankness that's there. With period pieces, I used to go to the National Portrait Gallery to look at paintings or glean anything you can from anywhere. Often, other artists' interpretations are quite interesting. It's not documentary and you're never going to get there. More and more with film, when you come in for a day or you have no rehearsal and you meet the person, basically you've created these things in a vacuum. It's something I find inherently easier in theater, when you have months of rehearsal and it's the director's vision and you are telling their version of the story. Particularly with a character as delicate as Charlie, you need that. You can do that thing that's gotten rarer and rarer, which is just work through a script. We had a month of rehearsal, which was wonderful-Jessica and Tobias and I. That was something Tobias and Krysty Wilson-Cairns were thinking about at length. It's exactly that balance-understanding how she did get so close to him, but also not necessarily sympathizing too much with him, which is a tricky line to walk. Having someone tell you that-like, the audience should never think, “How did Amy not sense this?” How he would slag off his own sort of existence. When I spoke to the real Amy she said this is two different people-“I only met the murderer Charlie Cullen once.” We’d talk endlessly about his humanity and his kindness and his gentleness and his self-deprecating humor. What I found intriguing about Good Nurse is this was someone who seemingly had empathy and then weaponized that empathy in a way that was terrifying. But I do like the idea that a lot of the characters I played have empathy as something inherent to them. The truth is I hadn't been looking for something specific-every script, I just react to what is presented in front of me. Without you knowing it, that's the trajectory you get taken on for a while. But then of course you do a film that you become known for and then that's the world. So I've done all these films, no one's seen them-in some cases, fortunately. I did a film called Hick that has 5% on Rotten Tomatoes, in which I played a Texan meth addict pedophile. So I did all these films for years: I did a film called Savage Grace with Julianne Moore, in which I played a guy called Anthony Bacon who killed his mother. Eddie Redmayne: The truth is, you do a load of work before anyone sees any of the work you've done.
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