I'm going to start I mean, this looked really muddy and really wet
and I've been to Glastonbury Music Festival,
so I kind of know what it's like and it's at first
it's the worst thing ever. I feel like I can't get out of my
it's in my is this in my wellies? And then by the end
you just learn to embrace it. And by the end, I love the mud. Was that quite a similar experience
for you guys? We love the mud. Yeah. I've also been to Glastonbury and. Is that not what the Northman
reminded you? I was just about to say
it's pretty much the same thing. I've got to say. I'm reserved both at Glastonbury
and everything. And I think we all committed
to the elements and there was definitely. You just have to embrace it. Yeah, a feeling of camaraderie. And we all just toughed it out together
and I think took a lot of pride and joy in being able to withstand
everything that was being thrown at us. We did it with a lot of joy. Do you think in some ways these kind of emotional and physical challenges
can actually evoke the best performances? Is there an element of like suffering
for the cause that can inspire something sort of quite deep within you? I wouldn't
say it's the suffering of it all. It's just not pretending to be cold
or cold. You know, it's
seen as simple as walk from here to here. You're like, this is difficult. You know, the ground is slipping
from underneath you. I'm not wearing shoes. Alex is not wearing any shirt. We're just like we're
just trying to be just trying to survive. So there's an element
that needs that pretty real. Well, there's always an element
of suspending disbelief on a movie set and on Robert Eggers makes it a lot. A lot of it. You don't have to do that much on a Robert
Eggers set because the set is real. It looks like exactly like a Viking farm would have
looked like a thousand years ago. And you know that Rob spent six months planning that far and talking to the carpenter. Exactly what kind of wood they would use
and how they would what technique it would be used to build. And the long ships were 100% accurate. So in the costumes, everything was real. So then it becomes more immersive than most other experiences
I've had on, on, on movie sets. Because again,
you step into that world. And and in Rob's way of filmmaking, the scenes are shot in
one long, continuous take. So you have a 360 world around you that you move in
and it's all real. It's, you're all, it's
it is a Viking village. It so it's and again, to shoot it up on a mountaintop
with the rain of the wind, it actually. Well. To your point it makes it easier. Yeah. You're actually running behind the houses
to get out of the wind to make it out of that day. You're not pretending to. It's just real. And it still doesn't mean particularly to you, Alex Alexander,
you have to lose your inhibitions. They embraced kind of being ugly on screen
and a sense I mean, because it's quite a hard thing to do
when the friends there's a camera in my face the night out, it takes a picture. My inclination is to get rid of
the double chins and turn to my good side. So as an actor, there's these countless
people watching you. There's cameras in your face. Is it hard to lose
that sense of self awareness and allow yourself to be, like,
disgusting and animalistic on the screen? Is that something you just kind of
get used to over the time? Over the years? I should say. Never call you ugly, by the way. Ugly inside (!) You're doing some intense faces, my love. But you are never ugly. Thank you. You want to hear that? You are welcome. I am pretty... you go you committed. Yeah. I think vanity for any actor is creative suicide. If you start to think about
where the camera is and how are you going to look
and then you become very self-aware in it, it would definitely affect
the performance. So you kind of just have to throw yourself out there
and not care about that kind of stuff. Well said. Yeah,
I meant ugly on the inside, by the way, I've seen you with your top
off... My very final question. I knew I mean, you've worked with Robert
before, of course, when developing that bond and vitally,
when you trust them, if they contact you about a role is that there's still
lots of other factors at play. The strength of the character,
that's the story. Or can it be a simple sense of if that filmmaker wants me, I trust them
and I'm going to go and do it? I mean, I think with Rob, it's particularly special because,
you know, he's my family. And I think I remember on The
Lighthouse,
him calling me and being like, there's no role for you. You could be the mermaid, but
I really don't think you should do that. And I was like, Dude, don't leave me. I was like, I want to come along. And but I think you know, I'm, I'm feel very, very lucky
that I'm at a stage now where I've worked
quite a bit and I need to, you know, kind of manage my time
a bit better just because I have been going back
to back to back for seven years now. And then you don't end up
with much of a life when you do that because you're kind of in the circus
the whole time. And so I think the answer
is I'd always love to work with Robert, but I have yeah, I just have some things
to think about as well. If I just have a showtimes at best. Like the release the movie. Pleasure. Thank you so much. Bye bye.
