Eddie Redmayne's Complex Role

Eddie Redmayne delivers a chilling yet understated performance as a serial killer in the Netflix film, 'The Good Nurse,' directed by Tobias Lindholm.
Alongside Jessica Chastain, Redmayne portrays Charlie Cullen, a seemingly ordinary night nurse who befriends Amy Loughren, played by Chastain.
As the story unfolds, Loughren discovers that her trusted colleague may be responsible for the deaths of patients who should have been recovering.
Cullen ultimately confesses to murdering approximately 40 individuals, receiving 18 consecutive life sentences, while those in charge at the hospital who suspected him faced no repercussions for their silence.

Redmayne's impressive range as an actor is no surprise given his accolades, including an Oscar, a Tony, a Golden Globe, a BAFTA, and two Laurence Olivier Awards.
His previous roles in productions like 'Cabaret' and 'The Trial of the Chicago 7' showcase his talent.
In this interview, Redmayne shares insights on embodying a character that deviates from the typical cinematic representation of a serial killer, gaining renewed recognition in the awards circuit.

Eddie Redmayne's portrayal of Charlie Cullen in 'The Good Nurse' offers a nuanced view of a character marked by contradictions.

When preparing for the role, he confronted the challenge of embodying someone whose actions are indefensible.

Redmayne emphasizes the importance of understanding Cullen through the lens of his relationship with Amy Loughren, a crucial figure in the story.

Their interactions, facilitated through Zoom, revealed two distinct personas within Cullen.

Initially, he appeared as a compassionate and humorous man who had a profound impact on Loughren's life.

However, she later encountered a starkly different side of him, one that was arrogant and unrecognizable, particularly during critical moments in a diner and an interrogation setting.

This duality intrigued Redmayne, driving him to explore the complexities of Cullen's character without passing judgment.

The concept of a dissociative personality, as suggested by Loughren, added depth to his performance, challenging him to balance the friendship's warmth with the darker aspects of Cullen’s nature.

One particularly unsettling detail involved Cullen’s unsettling gaze, described by both Loughren and author Charles Graeber, where his eye would seem to drift during conversations, symbolizing his internal turmoil.

Additionally, a dramatic courtroom scene illustrated the violent tendencies lurking beneath his surface.

Cullen's furious outbursts, including a relentless mantra criticizing the judge, culminated in his being restrained in court—a striking insight into his more aggressive demeanor.

Overall, Redmayne’s work seeks to capture the intricate layers of a character who embodies both kindness and monstrosity, making 'The Good Nurse' a compelling exploration of human complexity.In my portrayal of Charles Cullen, I aimed to explore the complexity of his character without evoking sympathy for his actions.

The process involved delving deep into the emotional layers that shape a person, particularly someone with a dark past.

During rehearsals, we focused on grounding the characters in truth, allowing pivotal moments like the diner and interrogation scenes to naturally unfold.

Tobias, our director, devised an intriguing approach for the interrogation scene; he intentionally kept me isolated from my co-stars, Noah and Nnamdi, to build an authentic tension.

Handcuffing me to the desk added another layer of constraint, which I believe intensified the dynamic in the scene.

With the goal of undermining their authority, I used the sound of the chain to disrupt the established power balance.

One of the most memorable moments was when Noah's character shouted at me—a raw, instinctual reaction that brought a sense of real fear to the scene.

What I hope is conveyed on screen is not just the adult Cullen, but glimpses of the traumatized seven-year-old boy he once was.

While the film doesn’t delve deeply into his backstory, the echoes of his past are crucial in understanding his psyche.

The complexity of Cullen's actions is underscored by real-life decisions he made, such as donating a kidney from prison, which adds layers to his character.

Ultimately, my focus was to portray him as a multifaceted individual, navigating the line between understanding his pain and acknowledging his heinous actions.

It's a delicate balance, one that requires careful consideration to ensure he remains a chilling figure rather than a sympathetic one.Redmayne reflects on the complex narrative presented in Charles Graeber’s book, particularly concerning the kidney donor and the resulting complications.

He notes how intriguing it is that the story doesn’t provide a straightforward explanation for the character's actions.

Instead, it delves into the psyche of a man from prison who perceives himself as a savior, creating a nuanced portrayal.

According to Redmayne, the character's motivations are not easily understood, which challenges the audience's tendency to categorize individuals into simplistic definitions of good and evil.

He emphasizes that human behavior is far more intricate than society often acknowledges.

Redmayne explains that with the character Charlie, there is an ambiguity surrounding his motives.

Early on, he mentions that Charlie considered his actions as mercy killings, but this notion quickly unravels as it becomes evident that he was randomly harming individuals, including those on their way to recovery.

The actor muses about Charlie’s relationship with his mother, which seems to play a significant role in his psyche, particularly after her tragic death and the subsequent mishandling of her body by the hospital.

This incident, paired with Charlie’s decision to train as a nurse at that same institution, unveils layers of hypocrisy and personal resentment towards the medical system.

In scenes depicting Charlie's dismissal, Redmayne reveals his intention to confront the bureaucratic figures responsible for his character’s fate.

He recalls the intensity of portraying a challenge to those in authority, demanding acknowledgment of the truth amidst a web of fear and denial.

The film, as noted by Deadline, critiques the medical establishment and its inclination to prioritize reputation over patient safety, leading to the quiet removal of Cullen despite the lurking threat he posed.

This pattern is echoed in various sectors, highlighting a systemic issue where individuals often evade accountability.

Redmayne expresses a desire for deeper exploration into the underlying reasons for Charlie's actions, inviting open dialogue on the matter.Eddie Redmayne shares insights into the complex character he portrays in 'The Good Nurse', revealing the layered motivations behind his actions.

He reflects on the troubled past of his character, highlighting the deep psychological scars from a traumatic childhood.

After the loss of his mother, the character joined the navy, only to face severe bullying while serving on a submarine.

It was a shocking moment when he was found dangerously positioned near Poseidon missiles, leading to his departure from the military and subsequent decision to train as a nurse.

Redmayne expresses disbelief that someone with such a violent history, including attempts on his own life and others, could be allowed to care for vulnerable patients.

He also notes the broader context of the nursing profession during that time, marked by significant shortages and the immense pressures faced by healthcare workers.

The film subtly touches on the desperate need for nurses, a situation that resonates with current realities in the industry.

For those willing to fill the gaps, the standards may have been overlooked due to the dire need for staff, which adds another layer of complexity to the narrative.

In the film, Redmayne’s character, Cullen, becomes crucial to Jessica Chastain’s role as Amy Loughren, aiding her in managing a heart condition while she awaits treatment.

This friendship raises questions about his true intentions—was he genuinely connecting with her and her family, or was it a calculated strategy to establish trust while carrying out his dark deeds?

Redmayne believes in the authenticity of their bond, suggesting that Cullen found solace in Amy.

However, he acknowledges that this was not an isolated incident for Cullen, who had a history of similar relationships with other female nurses, some of which veered into obsession.

This intricate portrayal challenges the typical depiction of serial killers, inviting the audience to explore the complexities of human connection and betrayal.Eddie Redmayne portrays a character whose subtlety and complexity create a fascinating dynamic within the narrative.

His character, Charlie, possesses a unique blend of self-deprecation and fragility, which draws others to him, particularly his fellow nurses.

However, Charlie often misinterprets their kindness, leading to uncomfortable situations.

One notable incident involves his infatuation with a nurse he admires. Believing their relationship to be progressing, he sends her an anonymous Valentine’s card.

The aftermath of this gesture becomes a source of gossip among the staff, with the nurse perplexed as to the card's sender.

When the truth finally emerges, her reaction is one of discomfort, leaving Charlie bewildered as to why his innocent attempt at connection has backfired.

This illustrates the intricate layers of his character, where outward appearances frequently clash with inner realities.

Charlie finds power in his anonymity, which is evident in his actions at the hospital.

He quietly refills the coffee pots that his colleagues neglect, taking pleasure in the knowledge that he is providing for others without seeking recognition.

This act of kindness, performed in silence, becomes a source of satisfaction for him, highlighting the significance of his unacknowledged contributions.

Ultimately, Charlie’s existence within the shadows, characterized by both isolation and unappreciated generosity, reveals the deeper themes of identity and connection in his life.

When discussing the character Cullen,
Eddie Redmayne reflects on the darker nuances of his role,
noting that Cullen's actions stem from a complicated psyche.

He emphasizes that Cullen was often absent during critical moments,
contrasting the typical adrenaline rush that nurses feel
when saving lives.

Instead of being present to provide care,
he was more detached, administering harmful substances
in hidden areas, away from the patients.

Redmayne shares insights from conversations with healthcare professionals,
pointing out that while there may have been an initial
sense of mercy in Cullen's actions,
they quickly evolved into something far more disturbing.

As for the film's reception,
Redmayne admits he hasn't received feedback from the real-life figure,
Charlie Cullen.

He recounts a discussion with Amy Loughren,
who remains distant from Cullen now,
suggesting that he likely doesn't have access to Netflix in prison.

Loughren's memories of Cullen are complex,
as she describes him as two distinct individuals,
highlighting the duality of his character. Through the lens of Amy, we see the impact of the flawed healthcare system, particularly through her friend Donna, who had connections with Charlie.

At the Montclair Film Festival, we had a Q&A session with Stephen Colbert, which was significant since it was close to where the real events unfolded.

Many nurses from the local hospital attended, expressing their support for the film.

The narrative does not glorify the events but rather sheds light on a system that prioritizes profit over people.

As these institutions expand, individuals often become mere cogs in a machine, losing their sense of identity amidst the corporate structure.

Kim Dickens delivered a remarkable performance, embodying a character that, while committing atrocious acts, is also under immense pressure from faceless executives.

Without the moral courage exemplified by the real Amy Loughren, it's crucial that we question these systems, as failure to do so can lead to dire consequences.

---

When asked about the woman Dickens portrayed, I confirmed that she did indeed lead the hospital after Cullen's actions came to light.

Shifting gears, the conversation turned to my journey into acting.

Interestingly, I didn’t come from a family entrenched in the arts or cinema. However, my parents encouraged any interests we pursued.

I distinctly recall a tour of London’s National Theatre when I was around ten or eleven.

During that visit, I witnessed a performance of "A Midsummer Night’s Dream."

Timothy Spall portrayed Bottom, while an extraordinary circus performer played Puck.

The moment Bottom transformed into a donkey was particularly captivating; the circus artist jumped onto Spall’s back, creating an unforgettable visual where her feet became Bottom’s ears.

That experience completely enchanted me, igniting my aspiration to become an actor.

---

Reflecting on my family background, my grandfather was an engineer, my father worked in corporate finance, and my mother operated a relocation service.

All of these careers were quite pragmatic.

When I announced my intention to pursue acting, their reactions were understandably cautious.As a father, I strive to provide my children with the same encouragement my parents gave me.
Reflecting on my own childhood, I remember when I was around nine or ten,
I landed a role in a West End production of "Oliver" featuring Jonathan Pryce.
My parents agreed to let me participate,
provided I maintained good grades in school.

Every afternoon, I would bid farewell to my classmates,
who were puzzled by my departure,
saying I was off to the theater.
I’d ride the tube to the London Palladium,
working alongside Jonathan Pryce,
while my parents ensured I kept up with my studies.
This experience taught me a valuable lesson in parenting:
discovering and nurturing a child's passion,
even if it is unfamiliar or daunting,
is a truly enriching endeavor.

When asked about my role in "Oliver,"
I jokingly mention that I played Urchin Number 23.
For young actors, being part of Fagin's gang was a dream,
but I was assigned a minor role as the "Book Boy."
This character simply delivers books and exits stage left,
an unremarkable part that serves a plot function,
prompting Oliver's journey back into trouble.

My debut performance at the Palladium was a lesson in itself.
I delivered my lines and exited too slowly,
disrupting the entire flow of the show,
which led to a rather stern conversation with the director.
That moment served as an essential learning experience.

Regarding my time at the Jackie Palmer Stage School,
it was indeed pivotal for my career,
and I shared that journey with James Corden.
Curious minds often wonder if he was always the kind-hearted individual we know,
or if he ever went through a phase of arrogance or bullying. Redmayne reminisces about his early encounters with Jessica Chastain, noting a humorous incident on the James Corden show.

He reflects on the unique tradition of American talk shows, where guests often face light-hearted embarrassment through throwback videos.

Their shared history dates back to childhood, where both auditioned at the same agency, vying for roles in productions like "Oliver."

He fondly recalls the annual showcases at Wickham Swan Theatre, where he typically performed “Memory” from Cats, while James dazzled the audience with impressive street dance moves.

Fast forward to a recent appearance on Corden's show, where James presented a hilariously awkward old headshot of them both from stage school days.

In a surprising twist, he unveiled an old video of Redmayne singing, stretching what should have been a brief clip into an excruciating two-and-a-half-minute performance, capturing Redmayne's cringing reactions—a true spectacle of public embarrassment.

The duo was part of a group that included Aaron Taylor-Johnson, emerging from the same artistic beginnings in Wickham.

When asked by Deadline about that pivotal moment in his career, Redmayne shared his longstanding dream of acting, tempered by the harsh realities of the industry, where success often seems elusive.

He recalled a transformative experience during university when he landed a role in the 400th anniversary production of Twelfth Night alongside the talented Mark Rylance, who played Olivia.

This opportunity marked a turning point for him, helping him secure an agent and solidifying his passion for acting, which he realized brought him immense joy.

Reflecting on his journey, he considers the remarkable young talents he encountered along the way and draws parallels to the legendary camaraderie of actors like Gene Hackman and Robert Duvall, pondering who his own audition companions were during those challenging early days.

Eddie Redmayne's Career Reflections

Eddie Redmayne reflects on his early career in London,

where he and a close-knit group of actors were constantly vying for the same roles.

Their journey was marked by both camaraderie and competition,

with each small success celebrated, yet accompanied by the uncertainty of auditions.

He recalls those days fondly, despite the challenges they faced in Soho,

where the hopes of making it big often felt like a distant dream.

Among his peers were notable talents like Tom Sturridge,

Robert Pattinson, Andrew Garfield, Ben Whishaw, and Jamie Dornan.

As they transitioned to Los Angeles,

Redmayne appreciated the guidance from friends

like Charlie Cox, who had already navigated the industry’s complexities.

He spoke of the joy and heartache that accompanied casting decisions,

acknowledging how unpredictability is part of the process.

When asked about surviving the tough periods,

he shared that he worked at The Builder’s Arms pub,

waiting tables and juggling theater auditions with little success.

For years, he faced the grind of auditions without feedback,

struggling to adjust from stage to screen despite no formal training.

He recalled Charlie Cox's early successes,

feeling both admiration and envy as his friend thrived in Venice.

Yet, amid the competitive landscape,

there was a profound sense of support within their group.

They navigated the highs and lows together,

experiencing the bittersweet moments of one friend’s triumph

while another faced disappointment.

Redmayne understood that this industry, while cutthroat,

also fostered relationships built on empathy and shared experiences,

a bond that kept them grounded even in the face of fierce competition.Redmayne reflects on his early career experience, recalling his role as the heart-wrenching son of Matt Damon's CIA character in "The Good Shepherd," which he considers an underrated gem directed by Robert De Niro.

He shares the excitement of auditioning for an actor he deeply admired.

"It was an unforgettable experience," he says, describing how it all unfolded.

At the time, he was performing in Edward Albee’s play "The Goat" in London, which garnered attention from a casting director.

This director, Amanda Mackey, had seen a different production of the play on Broadway and was influenced by a review in Variety.

She thought Redmayne might fit for one of two British roles in the film.

"She invited me in for a casual meeting, claiming there wasn’t a role for me," he recalls with gratitude.

Redmayne remembers that encounter vividly, noting Mackey's impactful presence before her recent passing.

The next day, he returned for a casting session that felt surreal, filled with renowned British actors from various generations, all there to impress De Niro.

"It was a remarkable sight to see these talented individuals waiting to audition," he adds, feeling honored to be part of such a significant moment in his career.I remember my first encounter with Robert De Niro vividly.

He looked at me and pointed at his hair, leaving me puzzled.

Then Amanda Mackey chimed in, suggesting that he wanted me to fix my hair.

De Niro instructed me to return in the afternoon, and Amanda urged me to find a hairbrush and style it in a side parting.

As I made my way out, I passed by some of the most talented British actors, feeling starstruck.

After this surreal meeting, I went to Oxford Street, still reeling from the experience, and bought a comb.

When I returned later that day, I was nervous but excited, having learned a new scene.

As I waited, the door opened, and I caught a glimpse of De Niro inside.

Curiosity got the better of me, and I asked an assistant who was with him.

To my surprise, I learned that Leonardo DiCaprio was in there too.

At that time, DiCaprio was a massive star, and I was about to perform a scene with him, where he played my father.

In a moment of pure chaos, I found myself breaking down against his shoulder, with De Niro directing us.

It felt surreal, like I was watching myself from above, thinking, “What is happening right now?”

That was just the beginning.

Over the next six months, I kept flying back to New York for rehearsals.

De Niro is incredible but definitely pushes you to your limits.

His directing style is something I’ve embraced, especially for emotional scenes.

He encourages you to stay in the moment, calling cut only to have you dive back into the scene immediately.

It’s a technique that really embeds the emotional weight of the scene in the actors.

Reflecting on my experiences in film, some lessons have truly left a lasting impact on me.

I recall a moment vividly: standing on Seventh Avenue in New York when I received a call from Amanda Mackey, a casting director who has been a significant supporter of my career. My knees nearly gave way; I was overwhelmed with emotion.

It’s interesting how certain aspects of my appearance have influenced casting decisions. For instance, I was cast as the son of Angelina Jolie and Matt Damon largely due to my fuller lips. Similarly, in "Savage Grace," I portrayed Julianne Moore's son, which tied into my freckled complexion. These traits have, surprisingly, played a pivotal role in my career trajectory.

When it comes to working with iconic actors like De Niro, many colleagues initially question his understated approach. However, once they witness his performance, they soon understand the depth of his skill.

He embodies minimalism in both his acting and direction, creating an environment that feels incredibly safe for the actors involved.

One of my most challenging roles was as Stephen Hawking in "The Theory of Everything," alongside Felicity Jones. Portraying such a remarkable figure, who was renowned for his intellect despite physical limitations, required a deep dive into his essence.

What struck me most about Stephen was the charisma he radiated, even when his body was largely immobilized. His unique sense of humor and charm was palpable, which made it both awe-inspiring and daunting to capture that spirit on screen. It was a fascinating yet intimidating task to convey humor from someone whose physical expression was so limited.The nuances of portraying a character often lie in the small details, and my experience while filming was nothing short of remarkable.

In the months leading up to the production, I immersed myself in the world of motor neuron disease, visiting clinics and engaging with families affected by this condition. They graciously welcomed me into their lives, allowing me to witness the profound challenges they face. A doctor once referred to it as the "happy disease," a stark contrast to the harsh reality it presents.

For some individuals battling this illness, moments of joy can still emerge amidst the struggle. Although the disease is devastating for both the patients and their loved ones, there are instances where smiles manage to break through the pain. This was particularly evident in Stephen's case, and my goal was to encapsulate that essence.

When it came to preparing for my role, my interaction with Stephen Hawking was limited but significant. The film was adapted from a book by his ex-wife, Jane, whose influence was invaluable throughout the process. I eventually met Stephen later in the production, and I was struck by his vibrant spirit. Despite his condition, he radiated humor and charisma, making it clear that he expected nothing less than excellence from my portrayal.

The weight of responsibility loomed large, especially knowing Stephen would be watching my performance. Similarly, I felt the pressure of representing Amy Loughren's story truthfully. I vividly remember the screening arranged for Stephen. I was simultaneously preparing for another project, but I couldn't resist the urge to greet him and wish him well, hoping to ease any tension.

At that time, Stephen could communicate only through the movement of his eye, using a device that allowed him to spell out words slowly. Conversations would take a considerable amount of time, highlighting the challenges he faced. After a brief moment, he expressed his intent to share his thoughts about the film, whether positive or critical. I appreciated his honesty and humor, hoping that if his feedback leaned toward the latter, we could keep it brief.

These experiences taught me that capturing the essence of a real person involves not just the grand gestures but also the subtle, intimate moments that define their journey.

During an interview, Eddie Redmayne expressed his emotional journey while portraying a character that resonated deeply with him.

He shared, "When I received the role, I felt an overwhelming mix of excitement and fear. This project carried a significant weight for me, especially knowing it was about Stephen and his family. The moment I learned that Stephen approved of my portrayal was incredibly meaningful. It’s a unique challenge to see your life represented on screen, and both Jane and Stephen's family were immensely generous throughout the process."

The conversation then shifted to a comparison with Robert De Niro's career choices, particularly his decision to take on a different role instead of a pivotal one in "The Godfather."

Redmayne reflected on his own path, particularly his experiences during his time at Cambridge. "I remember auditioning for the role of Tom Riddle when they were casting for the Harry Potter films. It wasn’t even a seasoned casting director but rather a young assistant who was part of a large team scouting for talent. I barely got through a few lines before they moved on. There was a time when I felt overlooked, especially with my ginger hair during the Weasley era, and despite my audition efforts, I didn’t catch any breaks.

As Game of Thrones gained traction, I noticed many familiar faces from past projects, like Sean Bean, advancing in their careers while I remained on the sidelines. It was a long journey for me in the industry, but persistence was key."

Redmayne’s reflections illustrate the complexities of navigating a competitive landscape while striving for meaningful roles.Eddie Redmayne has two young children, a son and a daughter, who are just beginning to discover his role in the 'Fantastic Beasts' series.

While they were too young to understand his work initially, they are now starting to notice promotional material and ask questions like, "Daddy, are you a wizard?"

This presents a unique parenting challenge for Redmayne – to tell the truth or to protect them from potential teasing at school. He opted for a playful response, affirming their curiosity with a hint of magic.

When they requested a demonstration of his wizardry, he showcased a simple trick of making a penny disappear. Their excitement grew as they connected the dots between his work and the fantastical world of magic.

Now, at ages 6 and 4, they are becoming more aware of the Harry Potter universe, and Redmayne wonders how they will perceive his involvement. He confided to Jamie Dornan that his daughter already finds him a bit embarrassing, despite not having seen many of his films.

As for their exposure to his work, they have yet to view any of his movies. However, Redmayne recalls a moment after filming 'The Theory of Everything' when he was preparing for his wedding with limited funds. He seized the opportunity to voice a character named Ryan in a 'Thomas the Tank Engine' DVD episode, despite never having done voice work before.

Redmayne humorously shares how he envisioned his character speaking in a high-pitched voice, only to find out that wasn't quite the direction they wanted.In an engaging conversation, Eddie Redmayne reflects on his unique experiences in the film industry, particularly his role in "Thomas the Tank Engine."

He humorously describes how he transformed his voice to embody the character of Thomas, raising his eyebrows and pitching his voice higher.

Redmayne recalls the delightful surprise of finding a note from Olivia Colman, who had previously voiced another character, when he walked into the recording studio.

The day after winning an Oscar for "The Theory of Everything," he received a call from his publicist about a potential DVD release for "Thomas," complete with a sticker announcing him as an Academy Award winner.

He admits that while he had his doubts about previous roles, this was a significant moment of confidence for him.

Addressing the current landscape of Hollywood, Redmayne acknowledges the shift in Warner Bros' management and hints at the possibility of reprising his role as Newt in future projects, although he defers the decision to the franchise creators.

He expresses gratitude for the opportunity to immerse himself in J.K. Rowling's imaginative world, noting the commitment that comes with participating in a franchise.

As the conversation shifts to his collaboration with Felicity Jones in "The Aeronauts," Redmayne shares a gripping tale of their near-death experience while filming in a gas balloon.

He describes the challenges they faced, ascending to the stratosphere in a vintage 19th-century helium balloon, and the intricate process of managing their descent.

His recounting of the tension and thrill underscores the risks they took for the film, showcasing the blend of adventure and artistry in their craft.Navigating the unpredictable nature of hot air ballooning presents unique challenges, especially when you're shooting a film.

On our first day on set, Felicity and I donned our period costumes, ready for a breathtaking experience.

Helicopters and drones hovered above as we prepared to film, capturing the serene beauty of the landscape.

Our pilot, however, was tucked away in the basket, out of sight during the shots.

Once filming wrapped and the aerial cameras departed, we began our descent.

As we approached landing, the pilot warned us—we were dangerously close to a forest.

In a moment of urgency, he instructed us to release the ballast, the sandbags that provide weight to the balloon.

With a quick toss, we followed his orders, and to our relief, we began to rise, narrowly avoiding the treetops.

Yet, in a twist of fate, he exclaimed, “You’ve thrown out all the bags!”

Confused, we replied, “You told us to!”

The realization hit: we had no means left to ascend.

Descending rapidly, we were at the mercy of fate, and within moments, we crashed into the trees below, plummeting from about thirty meters.

The impact was jarring; we landed hard in our 19th-century attire.

Felicity’s head struck a bar, and an eerie silence fell.

In that moment of panic, I heard her voice, filled with concern: “I’m not sure I can move my neck.”

It was a horrifying experience, yet fortunately, she emerged unscathed.

As we regrouped in our vehicles post-incident, an unsettling thought lingered: the film we were making explored the dangers of technology, much like the very technology we had just experienced.

Despite being centuries apart, we were using the same methods as those in the 1800s, with perhaps less expertise in handling them.

Reflecting on that day, I realized it was the closest brush with danger I had ever faced.

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