Did your approach differ tackling an indie film compared to your recent big budget work?
I think it’s always different. I had to lay back, I had to see what the world was, and then fit into it. I didn’t want to stick out or be too domineering. I had to learn a certain kind of patience and passivity, to make space for the other people and that was easier to do. For the role that I have, how I function in the story is very particular, I’m somewhat of a connecting piece so I guess I was conscious of that. But it was mostly about fitting in, and serving that community. I had such a concrete job as that character, keep things smooth. Each scene I had to work out how to be with each individual, I had to wear a lot of hats.
I really liked the conflict of your personal feelings towards Halley and Moonee and your sense of professionalism. How did you find having those ambiguous intentions?
I think this guy basically wants peace. I think that you get that with the scenes with his son, that he does know pain, he does know disappointment. He’s a guy who’s lucky to have this job, he’s not that different from these people. So he identifies with them, and when he sees Halley with her kid he’s horrified because he knows what can happen – he’s got out of a bad situation, and hers could be even graver. I think his relationship with Halley is interesting – he sees her in an almost sisterly way, but he also is making sure she doesn’t get one over on him. He’s trying to help her, but he can’t help her too much as then he’d be weak and she could take advantage of him.