- 4 hours ago
Josh Hartnett joins GQ as he revisits some of the most iconic characters from his career so far: from his portrayal of nuclear physicist Ernest Lawrence in Christopher Nolan’s Oppenheimer to his long-awaited return as the leading man in M. Night Shyamalan’s thriller Trap.
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00:00Ridley had like a little loudspeaker, and I said, uh, Terry, what the f**k?
00:06And we'd just, and then we'd have to go again, and that was the only time I ever heard him
00:10get angry.
00:16Trap.
00:19Psst. Hey, what's with all the police trucks outside and the cameras everywhere, Jamie?
00:24Something happening?
00:25You know the butcher, hmm?
00:28That frickin' nut job that goes around just chopping people up?
00:31Yeah.
00:32This whole concert?
00:34It's a trap.
00:35Wow.
00:36Knight's the most enthusiastic director you'll ever meet.
00:39He visualizes a film the way I would have anticipated directors visualizing a film when I was a kid, but
00:45most don't.
00:45Like, he has the whole thing mapped out before you go.
00:49Every storyboard, every single shot.
00:51He doesn't call himself an artist, but he does have that capability.
00:53And so you know what the film is going to look like.
00:56And so within that context, you get a lot of time to play.
00:59Like, he's not messing around on set, like, finding a shot.
01:01He knows exactly what he wants to get.
01:03And that's really freeing for an actor.
01:04So we started talking about Cooper four or five months before we started filming, and we never lost the sense
01:10of fun.
01:11Where do you guys keep the sugar?
01:14Barrett was supposed to refill that.
01:16I didn't want it to be a dissection of a serial killer.
01:20And, like, we've had people complain, well, it's not accurate psychopathy.
01:24I'm like, well, no, it's a piece of crazy entertainment.
01:28The whole thing's a trap.
01:29Like, that did happen one time.
01:31And that's where the idea came from.
01:33There was a Redskins game, I think, when they were still the Redskins in, like, the 1980s, where they invited
01:38a bunch of people who had warrants out for their arrest, like, free tickets.
01:42And then just systematically arrested them all.
01:45And so for Cooper, that was another opportunity.
01:47I had, like, a real moment a couple years ago where people were just like, yeah, I think Josh Hartnett
01:52can just go fucking crazy.
01:54And I was able to bring him to places that I wasn't able to go with any other character before
01:59that.
02:00Pearl Harbor.
02:03All right, Anthony Redd, you two are going to stay here, man, the .50 caliber.
02:08Goose, you're going to get up to the next bunker.
02:10You're going to lay out some cover fire, all right?
02:12Please.
02:13It was a really interesting film experience to be a part of because when we started, we went to an
02:20incredibly intense boot camp, way more so than the boot camp for Black Hawk Down.
02:24It sounds nice.
02:25We were up in the mountains of Hawaii.
02:27But up in the mountains, we had this staff sergeant, Sergeant Donnelly, who hated the fact that he was assigned
02:34to look after us actors.
02:36And he made our lives hell for a week.
02:39We had to check Ewan Bremner's breathing in the night.
02:42Because we were running so much, doing so much stuff that was like well beyond what the insurance would have
02:47allowed nowadays.
02:49But at the time, it just felt like, and I don't know why they wanted us to do that for
02:52a romance.
02:53But we got through it.
02:55And then we came out the other side more bonded as a crew.
02:58Kate wasn't there.
02:58And so I think she felt a little bit left out.
03:00They only allowed us to smoke Camel Straits.
03:03And so we were all smoking filterless cigarettes throughout the whole thing.
03:07Like fully in our 19, you know, late 30s, early 40s garb, the way that we were sort of dressed
03:13and smoking the way that they smoked.
03:15And like, it was just so bizarre.
03:18So then on top of that, obviously, there's this massive production with people coming in with their multimillion dollar, you
03:24know, P-40s and Zeros that they still had to fly themselves.
03:28Because they couldn't trust anybody else with them and were fully in actual Pearl Harbor, dodging planes and actual explosions
03:40and for the most part in service of this love triangle story.
03:45I mean, it was just bizarre.
03:47In the context, in that situation, I was still young and idealistic and had this idea that I was playing
03:53a real, you know, a real guy from that era.
03:57And another great uncle of mine was in D-Day and he sent a bunch of letters home and the
04:03sort of like code with which he sent things.
04:06It was all like he wouldn't really say anything was going wrong.
04:09But clearly knowing after the fact what was happening to his, you know, company members and the people that he
04:15was around was just insane.
04:17The things that he was writing were so adjusted.
04:20So I got to look into that.
04:22My grandfather was also in the war, but he was a little bit further back.
04:25But just getting a sense of what it was like for them and trying to bring a level of authenticity
04:31and respect for the era.
04:34And then in the middle of it, having to say, I think World War Two just started.
04:38Well, this has been going on for a while.
04:43Oppenheimer.
04:46You must be Oppenheimer.
04:47Yes.
04:48I hear you want to start a school of quantum theory.
04:51I am starting it next door.
04:53They put you in there.
04:54I asked for it.
04:55Wanted to be close to you experimentalists.
04:57Theory will get you only so far.
04:59You know, you get to set and there's this crazy group of actors and kind of legendary the way that
05:07Chris Nolan works.
05:08Everybody's there to do the job.
05:10Everybody's standing.
05:11Nobody has a cell phone or an assistant or anything.
05:14It's just 100% there to do the work.
05:16And that's true.
05:17And that was a perfect way to shoot this film because you couldn't imagine, like, how difficult it might have
05:22gotten with all these huge movie stars if everybody had their own stuff going on and how difficult it would
05:27be.
05:27He always comes in under time and under budget because it reminds me of what people used to do when
05:34I first started in this industry or what I assume that, like, David Lean did or something like that.
05:38Where you just, when you came to set, you were there to work.
05:41Everything was about what you got on the film.
05:44And everybody worked together in this little community.
05:46And we were able to shoot in this location.
05:49It's on this place called the Ghost Ranch.
05:51It's the middle of nowhere.
05:52And they built what looked very much like the original Los Alamos.
05:57And then we were all just out there living in these little cabins, hanging out with each other, getting to
06:01know each other, eating dinner together, and then going to work and doing this.
06:04And it felt like, it just, it felt like that's the way movies should be made.
06:09But only in a fantasy world or in Chris Nolan's world does it get made like that.
06:13Physics Air, New Mexico, huh?
06:16My God, what a trick.
06:19That's why you need a liaison.
06:20It's a tiny crew.
06:22It moves fast.
06:23It looks epic.
06:25But it's not because he has a million people standing around doing odd jobs.
06:29Like, there's just the very few people that he's really close with that are there.
06:32Nobody has a monitor.
06:34The only person who gets to see what's going through the camera, like, onto the film, is Hoyte van Hoyte,
06:43through the eyepiece.
06:45And Chris has this tiny little monitor, like, barely bigger than a poster stamp that he's looking at.
06:52But he knows what he wants.
06:53And so, if it's in there, it's in there.
06:55What are you doing?
06:57It's a trade union.
06:59You're filled with communists.
07:01So, I haven't joined the party.
07:02They won't let me bring you onto the project because of this shit.
07:05I read a book called Big Science that is a biography on Ernest Lawrence.
07:12He created the Brad Lab, which is where everybody came together.
07:15And that's where basically all the talent came from in order to create the bomb.
07:18He hired, you know, Oppenheimer to come over and be a part of it.
07:22In a lot of ways, I think he's described in the book as the Barnum and Bailey of science.
07:26He was very good at fundraising.
07:28And not many people were at that point.
07:30The notion of what type of person was a physicist was changed by him because before that, it was, you
07:38know, some hyper-intelligent person in a lab doing experiments on their own with no money and coming up with
07:45some theories, bringing it back to, you know, whoever has, whoever's funding it.
07:50And then they publish a paper.
07:51And he realized that there was, like, there was real possibility in community, right?
07:57Why don't we get a bunch of people together?
07:58Why don't we constantly be in dialogues and not fight over space in some periodical?
08:02So that's why he created the Rad Lab.
08:04And that was really the beginning of this stuff that we now have today.
08:08He was the most celebrated physicist of his time up until the war and the bomb and Oppenheimer.
08:14But he was overseeing that as well.
08:15So he had his fingers in all of what was happening in American science.
08:20The weirdest thing for me and the thing that I had no idea, because I didn't really know his story,
08:25because he's kind of lost to history in a way.
08:28But there was something I really didn't know about him, is that he worked at the University of Minnesota for
08:33a while, which is where I grew up.
08:34And also my great uncle was a physicist at the University of Minnesota at the same time.
08:39In my fantasy, they knew each other.
08:43But it just also gave me this sort of strange emotional connection to him that I really felt was important.
08:49Black Hawk Down.
08:53This isn't our first time out together.
08:55This is serious.
08:57We're Rangers.
08:58Not some sorry-ass JROTC.
09:00We're elite.
09:03Let's act like it out there.
09:04Cool.
09:04I was obsessed with his work.
09:07I couldn't believe that he wanted me to be in a movie of his.
09:10He's the hardest working person in show business, still is today.
09:14He has a visual eye that is unsurpassed.
09:19I think there were like 10 or 11 camera departments working pretty much the whole time to cover these things.
09:28And he knew where everything was going to be.
09:29He set up all these shots himself.
09:32He would be sometimes inviting me into his car on the way to work.
09:35And we'd drive together.
09:37And he'd be drawing beautiful drawings.
09:40Like, beautiful.
09:41And showing me how the thing was going to play out.
09:43Because he wanted me to understand the logic of what we're going to get and when we're going to need
09:47that shot.
09:48Because he knew already.
09:49Like, the edit was already in his head.
09:50So that I had to get to a certain point in the middle of this choreography so that he could
09:54see my face at that moment when that explosion goes off.
09:56And he would give me the full rundown.
09:58And he knew it all.
09:58He's like a field marshal.
10:01Like, crazy.
10:02Crazy talented in that respect.
10:04Probably no one else who can do that like him.
10:07I've never seen it.
10:08And yeah, so he 100% lived up to his reputation.
10:11And to, like, as a human being, I could see that he was just, he was commanding so much respect
10:18from everybody.
10:18But he also had to control this entire environment.
10:21And at the same time, there was a lovely genteel quality to him.
10:26Just sitting there smoking his cigars and never raised his voice.
10:31The only time I ever heard Ridley say anything was to Terry, his first idea.
10:35Terry was putting together this thing and everything went wrong in one of these takes.
10:38And Ridley had, like, a little loudspeaker.
10:42And I just heard, uh, Terry, what the fuck?
10:47And we'd just, and then we'd have to go again.
10:49And that was the only time I ever heard him, like, get, get angry.
10:52He's, he's a great director.
10:53I love him.
10:54He's the best.
10:54Go!
10:55Go!
10:56Go!
11:01These are big choreographed events.
11:04When they're not small scenes in these massive, you know, fight battle sequences.
11:09And we're shooting in this area outside of Rabat called Sidi Musa.
11:14In an area called Saleh.
11:16And we take over these streets.
11:18And there were wild dogs everywhere.
11:21Right before we're about to go one time, this dog, like, trots out to the middle of the road.
11:25Does this business.
11:27I go now.
11:28Action.
11:30Everything happens.
11:31Running around, you know, shooting, hitting the deck, diving into the dirt.
11:36Helicopters come in.
11:38Prop wash everywhere.
11:39Cut!
11:40Amazing.
11:40Great.
11:42Take care of goggles.
11:43Pulls off, just caked, you know, red dirt or whatever, all around our noses and mouths.
11:49That, that shit wasn't there anymore.
11:51So, you know, lovely.
11:56Virgin Suicides.
11:59I'm gonna ask you out.
12:02Bad chance.
12:04First I'm gonna go over to your house and send them to watch the tube.
12:08Then I'm gonna ask you out.
12:10A lot of that was on the page.
12:12But Sophia had an innate sense that the character is living his best days.
12:18That there was a melancholy to the whole production, even though she was discovering, in a way, a new aesthetic
12:25that was kind of airy and beautiful and ethereal.
12:28But underneath it, there's, there's, there's, there's, there's, there's real sadness and depth and Tripp's character is no different.
12:42I walked home alone that way.
12:44I didn't care how she got home, it was weird.
12:46She taught me.
12:47She taught me one thing really clearly sticks in my mind, because there were a lot of things I think
12:50she taught me on that film.
12:51But there's one that sticks out right now.
12:53And that is that, and not everything a character does has to be in line with your idea of what
12:58the character is deep down.
12:59And that's helped me a lot in, in just characterization over the course of my career.
13:03Like, yeah, people do things that are outside of character all the time.
13:06I'd like to believe that that was not deeply in his character to leave, but he did.
13:12And it fucked him for the rest of his life.
13:15The Faculty.
13:19See, it's a parasite.
13:22It attaches itself to a host, and then it controls it.
13:27I think I cut my own hair, I know I cut my own hair for that.
13:29I was 19?
13:32Sue, who's here with me today, has been with me since I was 18 years old.
13:35And she used to watch me, like, freak out about the way the character was going to look and stuff
13:42like that.
13:42And I didn't, no one would give me the haircut I wanted, because it was a terrible haircut.
13:46Took it on myself to cut my own hair, and then I would put my beanie on afterward and, like,
13:50walk around Texas with a beanie on.
13:52It was just, that was crazy.
13:53What is that?
13:56It's magic dust.
13:59You want some?
14:00No, I have a low tolerance, but thank you.
14:03Zeke's far too mysterious and, like, cool in his own way.
14:06I was not that in high school.
14:09I went to two different high schools.
14:10First one I went to was a Catholic school.
14:12I was definitely not cool there.
14:14That school was all about sports.
14:16I messed up my leg playing sports and had to kind of figure out something else to do.
14:21And I ended up getting into the arts, more so.
14:23And my family are pretty much all artists, so it was a natural progression.
14:27But then the school itself wasn't very arty, so I moved over to another public school in Minneapolis called South.
14:31And that's where I started acting, really.
14:33For fun.
14:34And I, like, got to take ceramics, got to, like, do great art drawing classes and painting classes and stuff
14:40like that.
14:41And just figured out that's kind of what I wanted to do with my life.
14:45I shot Halloween H20 at around the same time, going back and forth a little bit at the end.
14:49But I was hired for the faculty first, the perfect first movie to be on, because there were all these
14:54different actors.
14:55Elijah had done a ton of movies at that point, so everybody knew Elijah.
14:58But everybody else was brand new, basically.
15:00And we were all just trying to figure out what to do, like, how to be on set.
15:04And Robert Rodriguez had had that movie come out, or that book come out recently.
15:07I think it was called Rebel Without a Crew, so it was, like, how he can do everything himself.
15:11And he could. He could light it if he wanted to. He didn't.
15:14We had a guy, a DOP, but he shot everything himself.
15:17He edited everything himself. He did the music.
15:19He was just on set, like, kind of like, yeah, man, we're just going to make this happen.
15:23We're just going to do it.
15:24And, like, it was so casual and so much fun.
15:28You'd have the creature department come in and, like, make these little things, and we'd get to see it and
15:32be like,
15:32Wouldn't it be cool if we did this? Wouldn't it be cool if we did that?
15:35It just felt like very, like, a perfect introduction to making films,
15:39because it was, like, a bunch of kids making a film, because Robert has that energy anyway.
15:44Lucky number Slevin.
15:48Who are you?
15:49I'm Slevin.
15:50And what happened to your nose?
15:52I was using it to break some guy's fist.
15:54Somebody hit you?
15:56Yeah. I was kind of expecting it, though.
15:59You're kind of expecting it?
16:00Well, they say bad things happen in threes.
16:02My friend Jason Smilovic wrote it, and we'd been friends for a while before that, and I'd read the script
16:07two years before.
16:08I asked, like, can we just do it?
16:10Can we have him in the tiniest towel ever at the beginning?
16:12And the reason is we wanted to make it absolutely clear, crystal clear, that this guy is no threat whatsoever.
16:18Otherwise, how could he get through all these guys?
16:19Like, why wouldn't they just kill him?
16:22And so we had all these sort of new ideas, and we sort of put them together.
16:25And we had a friend who was producing it. I had worked with Paul McGuigan a few years before. We
16:29asked him to direct it.
16:30And so it was all friends working on it. And then we were like, are we going to be able
16:33to make it?
16:34Everybody said yes. All the actors said yes.
16:36So we got Morgan Freeman right off the bat. Ben Kingsley. We got originally a different actor to play Good
16:43Cat.
16:43I wonder if you would be okay with me saying it. It was Robert Downey Jr. to play Good Cat.
16:48He had to drop out. And so we were like, okay, who can we get? Wouldn't it be amazing if
16:53Bruce Willis wanted to do this?
16:54Let's send it to him. Let's see what happens. He took it. Lucy Liu, all these amazing actors came on.
16:59We had small roles filled by Stanley Tucci and Robert Forrester and, like, just insane, this cast.
17:06And it all came together in the course of, like, two weeks. And then, yeah, we were allowed to go
17:10make this movie.
17:11And it was just a bunch of friends again, going up, a bunch of young people going up to make
17:14this film.
17:16So, yeah, it was one of the best experiences I ever had on set. And it was independent, independently financed.
17:21I was like, this is what I want to do. I want to do independent films. I want to make
17:26films where I feel like all the decisions are made on set.
17:29We can mess with it. We can make a fun thing happen if it needs to happen. And we were
17:33able to, on that film,
17:34we were able to just change things around and make them work. And everybody was cool with it.
17:38And I couldn't believe that we got this cast together. It was insane.
17:41And to play Slevin, because I'd kind of helped, we'd been talking with Jason for a long time,
17:46and we knew exactly what to do with him, which is just, like, let's make him the least suspicious
17:52and most sort of inoffensive, you know, ineffectual, I guess, character
17:58that you could possibly make him at the beginning. And then let's give him this biting wit, this biting tongue.
18:03And that was already in the script, but like, it was the kind of dressing him down,
18:08both taking away his clothes, but also the punch in the face, all that sort of stuff, broken nose,
18:13that I think really sold this concept and also makes the character a lot more fun to play,
18:19that I think kind of centralized that ineffectual nature and makes the twist more fun at the end.
18:27And that was the thing that was so great about it. We were allowed the space because it was just
18:32us.
18:32And so I've been, I've sort of been chasing that my whole career, that sort of concept of being,
18:38you know, all decisions made in the room and stuff like that. But I've been able to recently work with
18:42amazing directors on larger projects that have that same feel. And the same thing happened with
18:46Below as well, because we were up, we were so far away.
18:56I've been air sick. I'm going to need to ask you a couple questions.
18:59Are you currently on narcotics? Is he really a scar bushel? Oh my god, is that blood dripping from the
19:04ceiling?
19:08The inside, both of you. So Lucas Reyes was a great character because when it came to me,
19:16it had been a little bit sort of, it had been kind of put together in a few different ways
19:21already at that point, sort of Frankenstein together. Always a very funny script, but
19:27you know, bullet train came out. There were things that they had, we had to do to sort of differentiate
19:32because it was remarkable. Somebody must have read somebody else's script because they were so similar.
19:38By the way, we had like one 20th of the money. We had to patch the plane together as we
19:44were going
19:45because it was falling apart. Every dollar we had was spent on that film. Nobody was going out to
19:49dinners. There was no extra. It all went into the filming. And we were able to create a guy who
19:56felt
19:57authentically messed up and funny in that environment without it seeming too comic book. And then we allowed
20:06the fight sequences to become more comic book around him and keep him somewhat rooted in reality,
20:13but like authentically a man on the very edge, which I thought was a lot of fun and painful
20:20in a really like rewarding way. I got hit in the face a couple of times.
20:30The choreography, when you're shooting something in that timeframe, like we shot it in a couple of
20:35months really quickly, there are mistakes that occurred. So you get hit or you, you hit your head
20:39on the side of the plane and they're, you know, like I came out of it with some lasting injuries,
20:46but it wasn't like, it was, it was so worth it because I learned so much about fight choreography.
20:53And we had an excellent team of obviously all the stunt guys and everything about the
20:56stunt coordinators and our DOP who had shot the raid, had a really interesting sort of approach to
21:02the way you can shoot these sequences and make them seem lived in and real, even though they're so
21:08heightened. And Jim is just an excellent director. He will pop out at some point as like the action
21:13filmmaker that comes from the U S that is to watch at some point when I watch an action film,
21:28I want to feel like it's driven by the character. If it doesn't feel authentic to the character,
21:32then it loses me. It's just a set piece. And even the silliest stuff, like it came from somewhere
21:38real within the character. I love that to be able to play a character that just goes absolutely wild.
21:43You don't always get to do it, but when I do get the opportunity, I really rush it. Verity.
21:52If anyone was to take over her series, I wanted to be someone whose work she respected.
21:58You would have to spend some time at the house, in her office. She has years of notes and outlines,
22:05stuff I wouldn't have to make sense of. The character is Jeremy. And if you read the book and
22:10you kind of go from the point of view of just what's chronological order, he really hasn't done
22:17anything wrong except the possibility of what she writes about in the final bit. So I had to take
22:24the character from the point of view that he's really done nothing wrong. I had to be on his side.
22:27Because throughout the movie, you want to feel as though like this is, this is a plausible answer to
22:33the question at the end, like, who do you trust? But we had to make sure that there was, it
22:37was
22:37weighted in both directions. Otherwise it's no fun at the end. So the distrust element is, it comes down
22:44to just, you know, conversations with the director. Do you want a little look here? Do you want to look
22:48there? Like, how do you, how do you want it to feel? But for the most part, you have to
22:52be on side with
22:53the character. Otherwise, if you're not, who is going to be right? I'm a big believer that like, you have
22:58to
22:58understand your character and be, at least understand why they might have done things.
23:04You don't have to love them, but you have to, you have to empathize. We are on location in one
23:10space
23:11for a lot of it. And Michael was able to choose this very gothic epic location, the house, and it
23:18informs a lot of the interactions. In reality, that house is a tai chi studio. So it has like a
23:24nice
23:24comfortable energy. But we, obviously, it has the look of something a little bit more sinister.
23:29With Jim, the DOP's lighting and stuff, there's a lot of, there's a lot of reflective surfaces,
23:32and you get this sense that you're never quite alone, because it's these big open spaces, a lot
23:37of glass. And working with a small group of really talented actors kind of makes it all the more
23:45intimate and all the more fun. Because there were days where Annie wasn't shooting and it was just to
23:49Dakota and I, but she would show up. She was a producer as well, so she would show up and
23:53she'd just be
23:53like in the room kind of participating with us. And I love a small troupe because you get to know
23:59people really well. These two actors that I get to work with on this are phenomenal in these roles,
24:04just absolutely phenomenal. The whole show exists on their faces and it's nice to be able to kind of
24:11feel held by that. That's the, that's the central pillar of the show, of the film. Below.
24:23Look, I spent my whole life on the water. Squid, what they do is they hide. They hide from people,
24:31they hide from boats, they don't attack them. Not even the big ones. In the best case scenario,
24:37when you're doing something that's a longer format, you have all of the scripts written,
24:43you know what director is going to be working on the whole thing. Nothing changes. The best case
24:47scenario never happens. So as if I'm going to do something longer format, I would like to have a say
24:53in how it's put together in the end or whether the scripts are going to be the way that I
24:57hope they
24:57would be as you progress. And there were changes that we made to Calvin right off the bat that I
25:03think really helped the show, which I think was afforded me more so because I was an executive
25:08producer on it than it was just an actor coming in because actors, you know, very self-serving people.
25:13And I really wanted to make sure the whole show worked for obvious reasons. Jesse was an amazing
25:17collaborator. Jesse McEwen, who wrote it and was the creator of it. And Jessica Rhodes, who brought me in
25:22because we had worked together on Black Mirror. We had a great working relationship. So it just kind of,
25:27it just felt natural that we could just continue talking about stuff behind the scenes and not just
25:32about the character and make sure that it was all coming together in a way that felt organic and
25:36respectful of the, of, of the environment and the characters and also surprising and wild. As it was
25:44written when I first got it, Calvin was a incredibly verbose character who was complaining a lot about his
25:53situation. And it just sprung off the page to me as a, a way of informing the audience what has
26:00happened to these characters and what has happened to this town. There are clever ways of doing that.
26:04And he knew, and he had originally done that because of a note that he had received that they wanted
26:10to
26:10kind of really get in the head of Calvin. And I was like, well, we can get in his head
26:15without having
26:15him state what's happening in his head. So we kind of pulled back, made him a little bit more reticent.
26:19Plus I knew people like this growing up, you know, not fishermen, but people who were living in the
26:25countryside and the country in Minnesota who just had, they would never complain about their situation,
26:30no matter how hard it got. When I got to Newfoundland, I found that that was very accurate for
26:33the type of person that I was wanting to portray. And so the more taciturn approach was the right
26:40approach. It wasn't just, um, that I felt it was better as a character. It just was more real.
26:46I mean, the accent is like, it's, it's a, it feels to us like looking at it from as Americans,
26:55I think as a, as a mixture of a couple of different accents that, you know, a lot of people
27:00say Irish,
27:00some people say a little bit of just general East coast fishermen sort of thing, and then kind of
27:05mixing them together into this thing. But it's, it's more than that. Like, um, if you go into the
27:10entomology of it, like some of these places were cut off almost entirely from what we would consider
27:16the modern world in these fishing villages for 150 years. But then also we just had to find like
27:22an accent that worked for the whole family. So we had some British actors in there in our family.
27:27We had obviously Willow from Labrador, myself, American, and we had to figure out, and a Canadian
27:34actor who's from Calgary, uh, Rowan. So we had to, we had to figure out what would work best for
27:41us as
27:42a family. And I think we landed on something that's really good. We just had a premiere up there and
27:46everybody seemed really satisfied with it. So that was like my biggest, I, my biggest concern was that we
27:51would not come across as authentic. And, um, so far everybody's been like remarkably enthusiastic about it.