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DR: I really much relied on Alexandre for that, because that was his biggest challenge on this film. It’s a thing that’s very nice as an actor to go, “I’ll just follow your lead and you tell me what you want and I’m guided by you.” And also when you have such trust in a director, there was never a moment when he’d say something that I’d disagree when something should be played funny or dark.

JT: The scene with us in the tree house, we were listening to David Bowie and he played it super loud so we were actually having a great time as you should in a moment like that. And for me with the scene in the forest, it was a polar opposite situation where it is incredibly freezing, wet, and dark, and you’re in the thralls of nature, which no one can control. It was interesting, because I felt like Alexandre was more separate from me in that scene… it felt much more lonely, which really helped me.

I did feel lonely and frightened, which was perfect as opposed to the night when we were shooting in the tree house and we were told to just have a great time. It really helps you as an actor to be put into a situation that you are taken out of in everyday life. I think a director is so lucky and so inspiring when they get the opportunity to see that they inspire everyone around them. It’s a great thing.

Another supporting character in this film is the old AMC Gremlin you drive, Daniel. Is it your car of choice now?

DR: It would be. I love that car (laughs). But yeah – my main focus for all of the driving scenes was to not break the car or crash into anything. Hitting a mark in a car is a horrible thing, especially if you aren’t good at it, because you know all the other men on set drive so literally everyone is going, “Can I just do this, please?” (laughs). It’s not my favorite, but I’m taking my test at the end of the month.

And one of my favorite moments from any movie that I’ve ever done… is when I drive the car with the snake around my neck.... But I couldn’t actually drive with a snake around my neck, because the snake latches onto the gear stick and the steering wheel. So we had someone in the back of the car who would put the snake around my neck before I got out, so they had to hide down in the back of the car with a python. Brad, our main snake handler, had a wooden leg, so it was hard for him to get into the back of the car so the job got delegated to someone else and I remember him getting into the back of the car with the snake and I turned around to him and was like, “Just so you know I don’t have a license. I don’t drive.” And he was like, “It’s fine, I never handled snakes before” (laughs). It’s just one of those moments that like in any other industry probably wouldn’t happen, but it’s great. It’s moments like that that make the film industry the best industry to work in, in the world.

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