Andrew Garfield Breaks Down His Most Iconic Characters

What I love about being an actor is I get

to inhabit and experience

all the different parts of myself and honor

all the different parts of myself,

the foolish, playful, silly parts,

as well as the high-minded kind

of spiritually longing parts and the lover,

the warrior, the thief.

It's just such a great profession,

such a lucky profession.

[rock music]

The Amazing Spider-Man, Peter Parker.

[Captive] Just let me go. Is that a knife.

Is that a real knife? Yes, it's a real knife.

My weakness is small knives.

Just let me go. Anything [indistinct].

Oh, it's so simple.

That was cool.

[Captive] What the hell is this?

Webbing that I developed myself.

I don't think you really want to know right now.

[Captive] Come on, let me go.

It was daunting

because I know what it means to me.

I know what that character means to me,

and therefore I can imagine what it means

to every other person that it means something to.

But I loved the responsibility actually.

I was so up for it.

I was so grateful for it.

And I was very healthily afraid.

But it was that kind of fear

that fills you with energy.

Like, I wasn't really sleeping at night

'cause I know what it required of me.

I know I needed to be completely turned on

and tuned in to making it the best

possible version I could make it.

And being infused with that kind

of muse and energy and spirit,

it's a wonderful experience.

It is exhausting, but you get taken over.

What an amazing gift to be able to be given,

to be the custodian,

temporary, I should add, custodian,

it should only ever be that,

of this, yeah beloved character,

that is such a symbol for so many people.

And a reminder for so many people

of what they're capable of,

what we are capable of.

Put it on.

The mask.

That's gonna make you stronger.

Jack, trust me.

Put it on.

There you go.

That's it.

That's it, buddy, that's it.

Okay, now climb.

Come on Jack. [fire blazing]

Do me a favor little faster, okay, bud.

When I was first cast and I started engaging

with the creative team and Mark the director,

I think it was to do

with that feeling of responsibility.

I think storytellers are the shamans

of the culture and always have been,

diving into mythology

and diving into like stealing

from our oldest stories and making sure

that we are providing the good medicine,

particularly to young people in a film

that a lot of young people

obviously are gonna see.

Even if it's like a subliminal medicine,

the medicine that's hidden in candy bar,

you want it to feel

like you're actually doing something

that has effect, that can create

some ripples in a young person's life,

that can kind of wake them up

to their own extraordinariness

and their own ordinariness

as both being honorable.

Ah.

Okay.

Who the hell are you?

I'm Peter Parker. That's not possible.

I am Spider-Man in my world.

There was a big gap between me doing Spider-Man,

my Amazing Spider-Man 2

and then the No Way Home with the gang.

And in that time, I've stayed reasonably fit

and I like being physical and stay in shape.

I had done a lot of my stunts

on the first two films and then it came

to the one with the more aged Spider-Man.

And I was so excited to be back

doing stunts again.

And the first stunt I did, I threw my back

out entirely on the first take

and I didn't do it right.

So I kept on doing it.

I did it like three or four

and I had thrown my back out into like six

or seven months to recover.

It's time to stretch.

It's time to start stretching

before you do things.

There's a moment where I cracked Toby's back

in the film.

Yeah, that's good.

All of that was coming out of us chatting,

all of us with Jon Watts and going,

Well what would it be?

What is the dynamic here and what are the things

that we can nod to?

And it's like, Well what's the reality

of now being these older guys wearing spandex?

And how do we acknowledge that in a way

that feels real and funny?

So do you like make your own web fluid

in your body?

I'd rather not talk about this.

No, I don't mean to-

`Are you teasing me?

No, no, no, no, no, no, he's not teasing you.

It's just that we can't do that.

So naturally we're curious as to

how your web situation works.

I look back very, very fondly,

but there was some healing that happened

between the three of us doing that together.

And it suddenly felt lighter, I think,

to all of us in a way for the characters,

but also for us as actors.

It's like, Oh yeah.

We would share about what our struggles were.

It was like Spider-Man group therapy.

That's like such a weird thing.

But it was so much fun,

so lovely chatting about just telling stories

and sharing experiences and it was surreal,

kind of heavenly.

[rock music]

The Social Network, Eduardo Saverin,

Are you all right? I need you.

I'm here for you.

No, I need the algorithm used

to rank chess players.

Are you okay? We're ranking girls.

You mean other students? Yeah.

You think this is such a good idea?

Oh my God, it was such a specific

in-between time for Facebook, I think.

I believe I had come off of it already

before having read the script.

It just wasn't somewhere I wanted to be.

And it felt, I think at that time,

it did feel like reputation of Zuckerberg

was slightly being called into question

and his intentions

and whether he had the maturity,

the access to his own heart and humanity

to preside over such a huge responsibility,

making this new town square.

I had an unease.

I had an unease around it

like I think everyone did

and everyone still does.

Aaron Sorkin captured the terror

of what this person had created,

the kind of the potential toxicity of it.

It's this interesting thing

where it's like takes the person

that makes the thing and kind of,

you can then identify the personal wounds

and the personal fallibility of the person

and how it's been passed into the very system

and the very platform or the very product

or the organization that has been created.

It's like the fish rotting from the head down.

I feel like what Aaron captures

so beautifully is, Oh,

this man's personal problems have become

all of our collective personal problems.

A man that has seemingly through the lens

of this film struggles to connect

on a human level with other humans,

has now made it impossible for us all to connect

on a human level with other humans.

I dunno whether he is able to connect with him.

I think Eduardo is open and wanting

to have a brotherhood with Mark

in this version of the story, obviously.

Takes two to tango.

He's not able to do it for whatever reason.

Mark!

Mark! He's wired in.

Sorry? He's wired in.

Is he? Yes.

[laptop shattering] How about now?

You still wired in?

I didn't realize it was going

to be so heartbreaking.

'Cause on the page you could think,

Oh, well this is just a guy

that's been fucked out of a bunch of money.

But I think what makes it meaningful

and impactful is that it's a one-sided love,

brotherhood relationship.

It's a guy that's holding space for his friend

to show up in the way that he believes he can.

He was just deluded all along, it turns out,

and I think the majority of human beings

have been in that situation where they believe

in someone's capacity and,

Oh, I see beauty in you.

I know that you are in there

and other people just can't see it,

but I'm gonna hang in there

and tease it out of you.

And then you realize, Oh, wait a minute,

I've wasted so much energy and time

because this person was always going

to be exactly as they are.

That's on me.

Like, that's like, there's no betrayal really.

Like the signs were there.

And I don't think Jesse plays him as a sociopath.

I think Jesse plays him as someone

actually full of longing,

someone full of insecurity,

someone full of fallibility and ego.

A young egotistical guy who is driven

by things that are self-serving ultimately.

And I think what I love about Aaron

and his writing is that he wanted

to make a film in the vein

of Kurosawa's Rashomon which is one event

from four different perspectives

and every single one of them is true.

So I think the Winklevoss twins

have a true narrative,

Eduardo has a true narrative,

Mark has a true narrative,

his first girlfriend has a true narrative.

Everyone's narrative is real and true.

And that's the kind of the terrible thing

about being a human being

is that who's more right than the other?

There's no such thing as more right

than the other, unless you're talking

about objective, factual things.

[rock music]

Hacksaw Ridge, Desmond Doss.

Are you grinning at me boy

or is that your natural state?

[Sergeant] No, Sergeant. Name, Private.

Desmond Dos.

I have seen stalks of corn

with better physiques.

Makes me wanna pull an ear off, Private.

Can you carry your weight?

Yes, Sergeant.

[Sergeant] Should be easy for you then.

Corporal. Sergeant.

Make sure you keep this man away

from strong winds. Yes, Sergeant.

Desmond Doss was a simple man,

really devoted religious man.

He was a pacifist and he was also full of vigor

and passion to serve during World War II.

But as a pacifist, he wasn't a wimp,

but he was someone that just didn't believe

that physical violence was the answer ever.

And he managed to save,

I believe it was 70, 71, 72

of his American fellow servicemen.

And he saved a bunch

of Japanese soldiers as well.

He dragged them all to the edge of this ridge

and fashioned a kind of harness

and rope and lowered them down.

And he did superhuman feats in the name

of love for his fellow man.

He gives all the glory to his God.

But, I tell you though,

physically impossible feats that he was doing,

'cause I tried to do them on the day,

I couldn't do it twice.

But the necessity is like what happens

when the strength that enters the body

of a mother who has to lift a car suddenly

off of their dying child,

it's that kind of inspiration

that this guy had

and this faith, this unwavering faith

that he had that meant, I don't know,

in some way it felt like he was being guided

and touched by some unseen force.

[triumphant music]

My brother is a doctor,

so it felt like I was honoring both

of them, and my mother in her gentle care

for everyone that she came across

and my brother in his devotion to,

yeah, to healing people

and to keeping people alive.

The never enoughness of that profession.

Like it's what one has to do in order

to survive that and to keep going

and not to fall into despair if something

goes wrong or a mistake is made

or you feel like you could have done more.

[Sergeant] Where the hell you going, Doss?

Still more wounded out there, Sergeant.

[Sergeant] I'll go with him. Be smart.

Keep your ears down.

Alright, let's find a spot.

There was a bunch of really

brilliant Australian actors

that I got to work with and bond with

in the course of that job.

We were shooting in Sydney and around Australia.

And Aussies are the best.

Aussie actors are the best.

Aussie crew is the best.

I had never been to Australia,

so I was having a really great time.

And these guys were just great.

It was what happens, you actually get

to create a little tribe,

little battalion with a bunch

of guys you hadn't known previously

on a job like that.

We just loved hanging out.

We loved being with each other

and ribbing each other and taking the piss out

of each other and fucking about.

So when it came to those battle sequences,

the brothers in arms stuff,

it was kind of joyous.

But one of the jokes we would have,

it was exhausting,

but like one of us at a certain point

would have to break the bubble

and be like, Yeah, I know fake war

is so hard,

because we were just pretending to be at war.

Who would wimp out first

on an actual battlefield?

And it was like actors

on an actual battlefield is like,

we would all be like, No, you go ahead.

It is very, very Tropic Thunder.

Yeah.

One of my favorite movies

and Mel our director,

is someone who's...

It's a real meritocracy.

There's no hierarchy in a way.

He's one of the guys

and he's kind of in there with us

and didn't feel like we had a boss in a way.

Felt like we were all just making

this thing together.

And it was a really, really special feeling.

[rock music]

Tick, Tick, Boom, Jonathan Larson.

And in 80 days, my youth will be over forever.

And what exactly do I have to show for myself?

Happy birthday.

♪ Stop the clock ♪

Jonathan Larson was a musical theater legend,

still is a musical theater legend.

And he achieved that at such a young age.

He is the creator of Rent.

He changed musical theater forever with Rent.

And he tragically died the night

before the first preview of Broadway of Rent.

And he made a one man show called,

Tick, Tick, Boom, just before he wrote Rent.

And our film is a version

of that one man show kind of expanded

into a little memoir, autobiography,

vignettes, tone poem,

all that jazz style kind

of in Jonathan Larson's head.

I'm far enough away from it now

to be able to objectively say how lucky

that I was to be able to,

well, given the opportunity to play him

and inhabit him.

Lin is a creative powerhouse.

He is a visionary.

He is uncensored, unbridled

and inspiring to be around.

And it didn't feel like his first film.

He had the confidence to collaborate

in a way that only the great filmmakers have.

He wasn't controlling,

he was liberating and inspiring.

He wanted everyone to bring their talent

to the thing.

And I didn't know how to sing.

And he entrusted me and he educated me

on musical theater.

He provided me with a great education

on this art form that I had admired from afar,

but never fully engaged with.

He owes his career, his inspiration

in a lot of ways to Jonathan Larson.

So his desire to honor Jon was pure.

That he's aware of all of the interconnectedness

of all the thing.

He follows his own golden thread.

He just kind of instinctively knows

where he has to be

and what he has to be working on.

And you can feel it through the film,

you can feel it through all of his work.

But like, particularly, I'm thinking

about a moment in the film

where Jonathan Larson's ultimate hero mentor,

Stephen Sondheim leaves a voice message

for Jon on his answering machine,

giving a proper mentorship moment.

[Sondheim] Jon, Steve Sondheim here.

Rosa gave me this number.

I hope it's okay to call you.

I didn't get a chance to speak with you

after the reading, but I just wanted to say

it was really good.

Congratulations.

I'd love to get together and talk

to you about it if you have any interest.

No pressure.

The main thing though is

that it's first rate work and has a future.

And so do you.

I'll call you later with some thoughts

if that's okay.

Meanwhile, be proud.

In that moment in the film,

it feels like the lineage of musical theater

is just in one very pure direct line

from Sondheim to Jon to Lin.

It was like being caught in like one of those,

like a Ghostbusters like stream.

It felt just like you're in the center

of the musical universe.

Lin can create moments of magic like that

through instinct, things that feel

like touching the third rail,

something profound and magical happening,

another energy coming in.

Yeah. [rock music]

Silence, Sebastião Rodrigues.

I saw men die. I did too.

For [indistinct].

On fire with their faith.

Your mothers may have been on fire, Father,

but it was not, but the Christian faith,

I saw them die.

I saw them die.

They did not die for nothing.

When Scorsese asks you to participate,

you kind of clear the books

and you kind of cancel other plans.

And I did.

I took a year to study

with a great Jesuit priest, Father James Martin,

and travel to silent retreats

and to Portugal and just study

and create a connection with the Jesuit faith.

And it was an ascetic time

because I lost 30 pounds

and I'd never gone that far before.

But when it's Marty, you're like,

Well, I better pull out all the stops

and give all of myself to this.

I didn't know.

I didn't know if I had any perception.

I was bowing deeply as I entered the magnitude

of him as an iconic artist and filmmaker.

And then I guess I was surprised

just by how avuncular and kind and fun

and sweet and easygoing he was

and how he had no interest in being treated

as any kind of icon.

He just wanted to have a good time

and have a laugh.

He was very, very funny.

We would have these amazing conversations.

I would go to his place in New York

and just sit by the fireplace with him

and we would have dinner with his family.

And then we would sit for a couple of hours,

which was like once every couple of weeks.

And we would talk about the book,

we would talk

about the Shūsaku Endō book, Silence.

And, we would talk about faith

and we would talk about ego and we would talk

about what the mystery of faith.

We knew the conversations

that I would be going home

because it was usually about two hours in

and there would be a pause that was longer

than like 10 seconds.

We were both like both staring at the fire

and then he would be like, All right kid.

And then, that was it.

And that was that night done.

[rock music]

99 Homes, Dennis Nash.

No, I understand what you're saying Mr. Carver,

and we've been getting our eviction notices.

I was in court yesterday.

Yeah. And the judge informed me

that I got 30 days. Yeah.

To file for an appeal.

It was after I did the second Spider-Man film.

So there's some pattern here

where I need to just physically go,

I need to fucking put my hands back

on the earth.

And Ramin Bahrani, who I'd seen.

I loved Chop Shop and Man Push Cart,

these two other films

that he'd made previously.

I thought they were really in the vein

of Ken Loach kind of very

humanist spiritual filmmaking

for the working class,

which is my ancestry on both sides.

And it's the kind of storytelling

that like Ken Loach is one

of my favorite filmmakers of all time.

It loosely feels like a modern version

of The Grapes of Wrath

or Man's Inhumanity to Man,

or the Bicycle Thieves.

The setup of this kind

of predatory late stage capitalism

that we're current crisis.

I can get [indistinct] investment group away

from him and my team can handle as many homes

as you have to sell.

Well, I have upwards

of a thousand homes, possibly more.

And how it forces us

to dehumanize each other in order to survive,

which is just a made up fucking container.

That's the crazy part is

that the current culture we're in,

it's just has been decided, created and made up

by a bunch of people that it serves.

What do you have in there?

A steak. What?

That's Hamburger Helper,

if I ever heard of anything.

What does that look like to you?

That looks like dinner for Dana.

Dana, you come on, join us.

You put that under your T-shirt?

You're... [laughs]

It felt like my family's story in a way,

in a period of time where my family

were in terrible financial trouble,

which is I think the story

of most American people at a certain point.

And I loved working with non-actors.

I loved working with actors

who had been foreclosed on,

who had their homes taken,

felt like a privilege to be able

to meet these people, research with these people,

do our best to try and reflect their experiences,

combined with our own personal experiences.

It just felt like a real privilege.

Yeah, I think it's a survival thing

for the character, Dennis.

It's eat or be eaten.

If you have to take a bulldozer

to your neighbor's house

in order to feed your own family,

I don't know a man or a woman

that wouldn't do the same if it was survival.

It doesn't call

into question our humanity actually.

It calls into question the lack of humanity

in these systems that have been created

and in the systems that we all have

to function in to survive.

[rock music]

Under the Silver Lake, Sam.

Hey, can I ask you a question?

Yes.

You ever see her around?

[Balloon Girl] Sarah?

Yeah, you know what happened to her?

Inspired by After Hours in a way,

Under the Silver Lake,

that was one of the films

on David Robert Mitchell's film watch list

for me to prep.

He was like, You need to see it, 'After Hours'.

I'm like, Of course I'll see it again.

But like, it feels that what is real,

what is not real.

I was in Australia,

I just finished Hacksaw Ridge

and I was tired of playing religious,

spiritually like men trying to transcend.

And then I took a two week break

and I drove up the coast to Byron Bay,

just a solo surf trip.

My agents had sent me,

they said, Hey, have you seen. 'It Follows'?

And I was like,

I have no desire to see 'It Follows'

'cause I'm a scaredy cat

and I don't like scary films.

And I hear

it's like reinventing the horror genre.

And they were like,

Well we think you're gonna like it.

And I loved it.

It was inventive and terrifying

and thematically fascinating

and tonally fascinating

and just a proper filmmaking.

Why do we just assume that all

of this infrastructure and entertainment

and open information that is beaming

all over the place all the time

in every single home on the planet is exactly

what we are told it is?

Down a rabbit hole of no meaning maybe,

or a question mark.

I dunno.

And I loved it.

It just felt like the Goonies to me.

It felt like a guy that's too old

to still wanting to be a Goonie,

still trying to chase some mysterious treasure

with a map found in a Wheaties box or whatever.

It read like unlike anything else I'd ever read.

And it was 160 pages and had ciphers

in the script and had images

and like marketing stuff within.

I was like, This guy, I just love this guy

and I just want to play with him.

And it just felt like, again, just this kind

of pendulum swing to something

very, very different.

[rock music]

Death of a Salesman, Biff Loman.

Mike Nichols had asked me

after seeing The Social Network to play Biff

in Death of a Salesman with Phil Hoffman

and Linda Emond.

I suppose it could be seen as a bit

of a left field choice.

It felt grounding.

I dunno how to explain it apart

from it felt really grounding.

I think, particularly 'cause I knew I was about

to go off on a big international press tour

and that my life was about to change.

It felt like an instinctive thing.

I was like, I need to just ground.

To set the essential purpose that brought me

into this work in the first place,

which is theater.

It's about the play.

Play's the thing.

It's not about the actors.

It's much more satisfying getting

into a deep conversation

about Death of a Salesman

or about Angels in America.

That's just what turns me on more.

Yeah, he is my favorite actor is Phil,

and always will be.

He was this rigorous pursuer of truth.

There was no bells and whistles.

It was, what's the truest thing here?

And it's so weird because his performances

are so full of bells and whistles.

They all emanate from a place of truth.

He's an actor that can create things

that are as real as reality in the way

that they are stranger than fiction.

He had one of those hearts and one

of those souls that when it was revealed to us

as an audience, when it was revealed to us

as actors playing with him,

it was just the purest, the purest spirit

full of the purest longings of what it is

to be a human being.

He was a creative powerhouse.

To be able to pretend that he was my father

and to wrestle with him in that way,

in that kind of fierce way every night

for however long we made that play.

Whew.

A privilege, like a big privilege of my life.

[rock music]

Boy A, Jack Burridge.

[rock music]

I'm told you're been

to prison a couple of times.

Yeah, but I mean-

Listen, I only bring it up

to reassure you that your secret's safe.

All right?

I believe a man deserves a second chance.

I also believe in his right to privacy.

So mum's the word.

God, it was such an interesting thing.

This is a second film I made and I was so young

and I was so inexperienced with John Crowley

who directed, We Live in Time.

We've wanting to work together since.

Fell again in the realm

of a Ken Loach film.

It felt like a humanist kind of film.

And it's a question of whether we can change,

whether we can reform.

What's a proportional response

to things we do as children,

even if they are as terrifying as murder?

And I think for me it was very clear

what my intention was with the character

was that he absolutely

did deserve a second chance.

And he was entirely reformed

and was no longer a threat.

He knows what damage he can cause

and he never, ever wants to risk causing damage

to another person in any way again.

His experience as a young person

gives him more humanity, more access

to his own humanity than than other people

that haven't brushed up

against their own capacities in that way.

It's one of those moments where you kind of go,

It feels like a dream.

Genuinely feels like a dream

when you have fantasies that you kind

of like as you're gonna sleep, you kind of go,

Oh, if I ever win a BAFTA or an Oscar

or like, oh yeah, I would do this,

and I would say that.

But that's all it is.

It's a fantasy.

I don't think there was ever a part of me

that was like, This is gonna happen.

A lot of actors have that feeling of like,

Oh, I know where I'm heading.

And I'm like, I have no idea where I'm heading.

I don't even think I have anything

to offer in that moment.

I was riddled, addled with insecurities

and like doubt and like imposter syndrome

and I still am to a degree.

I don't think that ever goes away.

But that moment was quite spectacular.

It felt like an embrace.

We all long for that.

We all want to belong.

We all want to feel accepted.

We all want to feel

like we are adding something of value

to people's lives or to the culture

or to our community.

And in that moment, it was total.

It felt total.

[rock music]

Angels in America, Prior Walter.

Louis, Louis, please wake up.

Oh God.

[whimpers]

I think something horrible is wrong with me.

I can't breathe. I'm calling the ambulance.

No wait, I don't- Are you fucking crazy?

Oh God, you're on fire.

Your head is on fire.

I'm now far enough removed from it to be able

to ask the same thing and kind of look back

and go, I don't know how that...

Because I didn't miss a show

and neither did Nathan Lane.

It was more remarkable

than Nathan didn't miss the show

because he's slightly older and the stamina

that that required from him.

There's some other energy that comes.

And I remember there were nights

and days on Angels where I would wake up

and wanna cry 'cause I'm like,

I can't, I don't know how,

like literally like I'm on the verge

of a physical nervous system failure breakdown.

And there was one particular person,

a mentor of mine, a teacher of mine

that I would call and I would say,

Hey, I'm really worried about myself.

I'm worried that I actually can't,

that I'm gonna fall over on stage.

And she would always say, Lean back, lean back.

Give it to the spirits, give it to God.

Give it to your higher power.

Give it to the invisible forces

that have put you in this position to serve.

I survived and did it.

And those were probably the better shows

because I was out of the way.

So I think there's some other energy

that comes when you're in the right place

in the right time and you're intentional

and you wanna, actually, I don't know what it is,

there's some other thing

that brings you to the place

and through difficulty in order

to deliver the message.

And I would pray every night genuinely.

I'd be on stage

after my vocal, physical warmup

just before the people started to come in.

And I would pray to the spirits

of the people lost during that.

I would say, Come on in,

come and get some healing.

There's a bunch of people coming in

to the theater that will be bringing you

all in too, like family members,

friends, lovers.

And then you just kind of go, Okay, let's see

what happens tonight

because I don't know how to do it tonight.

And I feel that way about Desmond Doss,

feel that way about Jonathan Larson,

feel that way about Father Rodriguez

in Silence, even my character

in Under the Silver Lake,

he was filled with some spirit calling him

and pulling him into his life towards

some mystery or some destiny.

[rock music]

We Live in Time, Tobias Durand.

There is something that your daddy and I-

There's something that we want,

mommy and me want to-

We want to talk to you about.

It's a bit serious though.

I play a character called Tobias Durand,

and he is a draw between the lines guy

at the beginning of the film.

He's someone that does not want to rock the boat.

He is someone that thinks mistakenly

that if he behaves well according

to society's values, he'll be rewarded.

And it's not true.

He finds himself deadened, numbed

without any vitality in his life at the beginning

of this story in a marriage that isn't working.

And suddenly he's being given a second chance

of being courageous and brave in his life.

It becomes an adventure.

I hadn't worked for a year,

because I was knackered

after Angels in America

and the spirit of Jonathan Lawson

kind of like pulling me around

and then We Live in Time came along

and I was like, Oh, maybe this can

just be a gentle, nice thing

that I can go and do.

And as soon as I was there, it was like,

No, you're back.

Like it was suddenly like the spirits

of that film started to just kind

of like pull at me and I was like,

Oh my God, this is for my dad.

My dad has been

through this exact fucking experience.

I have friends who are going

through similar experiences.

I've been there.

Like, oh, suddenly it's like,

Okay, great.

The muses are back.

It's never me.

I'm just like, I will fucking try

and put shape to the things

that you're trying to put into the world.

What a privilege.

I've been used.

I've been used by whatever those good muses are

that want their voice in the world.

What's happened to my underwear?

Boy, I literally have no idea.

So sorry, but do we know each other yet?

Yeah, no.

Even the harder, more emotionally

full, challenging vulnerable scenes

were very pleasurable with her.

And she was surprised at that.

She was like, That shouldn't have been fun.

And I'm like, Well.

You are the kind of the brush and the color

but the person holding or the force

holding the brush is not you.

You are just being moved.

It's so beautiful when you get to do that

because it requires another actor

to do that with you.

And she's someone that is so talented

that she trusts her own instrument.

Letting go is the best.

So when you can let go

with your fellow scene partner,

oh, it's heaven.

But that requires a lot of trust

and safety and knowing

that the other person is not judging you.