Christopher Maynard : Sleepwalker is the latest film from director Elliot Lester troubled by bouts of sleepwalking and disturbing nightmares, Graduate student Sarah Foster goes to her University Sleep Research Center for help when she wakes up after her first night of being monitored, The world she lives in seems to have changed in subtle Twilight Zone-esque ways. In fact, every time she goes to sleep now she wakes up in a slightly different version of her world. With the help of her sleep researcher Dr. Scott White she tries to work her way back into the reality she started in. But when they finally succeed it's revealed that Sarah's world is not what she thought at all. Today my guest is one of the stars of Sleepwalker Richard Armitage. Tonight we talk about his work on that film as well as his work as Thorin Oakenshield in The Hobbit films as John Proctor and The Crucible and his upcoming films Ocean's 8 and the Julie Delpy directed film My Zoe. Sleepwalker is now about available on digital HD and on-demand.
Richard Armitage : Nice. We've just got a hurricane coming into New York. It feels like that anyway so nice to be indoors today.
Christopher Maynard : Yeah. Absolutely. Um but thank you for taking time to take us to discuss Sleepwalker I really do appreciate it I really enjoyed the film.
Richard Armitage : Oh great thanks
Christopher Maynard : But before I went into that I saw something else that you were doing that actually kind of really piqued my interest and that was that you did a reading of Dr. Jekyll and Mr. Hyde for Audible. How did that come together
Richard Armitage : Um.. I've done quite a lot of work for Audible over the years and um you know whenever they throw something at me I find it very hard to say no because I love the way that they represent the work and the time that it takes and the producers that they use, And they came to me with this as a Halloween special and I'd never read the books before, But... um... so I was really intrigued to find out what the real story was and the thing that really struck me about it was that it feels like medical documents from, from a psychologist or a doctor in its form. So it was a sort of heightened sense of reality even though it's a fictional piece by Robert Louis Stevenson. I was just I really, really enjoyed it. It was great. It was really interesting to, to sort of find a voice for that kind of medical journal style.
Christopher Maynard : And that was actually exactly what I wanted to ask you about because it is such an unusual style the way that book's put together so for whatever reason there can be things that sound fine in our heads when we're reading them but when it comes time to actually say it them out loud or perform them. It can be come out totally different. Was there any part of the book or any passages that stood out as particularly challenging?
Richard Armitage : You know it took me by surprise because I didn't realize when I was reading with my eyes that the very final document is actually from Dr. Jekyll himself so it's very much a first-person account of, of what happened in the form of I did this and I did that and I found that to be interesting because you have to from every other perspective it's always a observed and it's obviously it contains the opinion of the person observing whereas when it's in the first person you really understand that the person writing this moment in time is talking about what's happening to him in real time and that was really interesting.
Christopher Maynard : Hmm.. And is that something where you like taking on those challenges of just looking through the stuff you've worked on in the past you have quite a diverse career so far and do you like the challenge of working with existing properties that people know like in The Crucible or The Hobbit films or even now with Dr. Jekyll Mr. Hyde or do you like to be the one that introduces the world to the character?
Richard Armitage : I like a bit of both. I mean I've always been inspired by literature. I think it's what drew me to acting in the first place because I was quite a bookish kid so I was always kind of reading something and you know your imagination is formed by the material you read whether it's a very childish book or you know as I got older more sophisticated material. And, and actually in later life I like, I like nonfiction but for some reason my brain will always sort of fictionalize or create a world in which this, this story exists and so whatever medium I'm working in whether it's an audiobook or a TV show or a film. I, you know, when I open the script to read it I start to create the world in my head and I think that's the first point of call for me is something whether it's on whether it's something I'm interested in. I do find it hard to engage with something that I possibly wouldn't watch myself. I think, you know, the ground has to be fertile to, to draw an audience in.
Christopher Maynard : Yeah absolutely I think if you're not invested in the story how could you expect anyone else to be?
Richard Armitage : Yeah.
Christopher Maynard : And that's something that ties in perfectly with Sleepwalker because it's something that right away from that opening scene it just grabs your attention and it pulls you in. You know that this isn't going to be a passive experience watching this film. Is that how it read when you got the screenplay?
Richard Armitage : It was a really difficult read actually and I think you know this is a genre and this style of filmmaking is also quite a difficult thing for an audience to receive because it is so blurred with what's real and what's, what's in the imagination or the dreams of the character that, you know, people like a very singular strong logical narrative and when you get into sort of the depths of the subconscious. You can get, you can get lost in it a little bit so it was it was quite hard to follow the script and I had to sort of label parts of the script you know this is, this is real this is sleep and then at one point I even realized that the character I was playing possibly didn't even exist and that's a really difficult thing to wrap your head around that you're playing somebody that doesn't exist it's just a figment of somebody's imagination or dream but I liked that challenge I like the idea of that.
Christopher Maynard : Absolutely and it's almost like a David Lynch-ian thing where that sort of dream logic but taking on something like Memento where every scene that you're watching is redefining what the film is about and so where your character has that atypical trajectory where it's just your relationship to the story is constantly changing so.. I mean you mentioned you're having to take notes on this is that something you're having to sit down with the director to kind of go through scene-by-scene with it and know exactly where you're supposed to be?
Richard Armitage : A little bit, but I also like, I like to sort of just be free of my personal restraints so I, I enjoyed the fact that I didn't always know where I was in the story or which part of the story it was and I, I sort of threw myself into the hands of Elliot and actually Ahna as well because you know some days I turn up as one character and then the next day I turn up of another character and then I just it was nice to sort of just ride that wave with them but it's interesting that you talk about Memento because there were so many things that I was inspired by that sort of led me to choose this project because you know I loved obviously a lot of Memento but another of my favorite films was a film called La Doppia Ora which was translated as The Double Hour by Giuseppe Capotondi. It's a similar idea of the internal workings of a mind of somebody that's possibly in a coma and you don't know what's, what's real and what's not and other psychological drama like.. Um.. I think it's Hitchcock but it's a 1938 film called The Lady Vanishes and I've got a feeling it's Hitchcock but I'm not exactly sure...
Christopher Maynard : Yep, it's Hitchcock.. yep, it is.
Richard Armitage : But it's just this idea of a reality which changes another audience we start with the character so we know what their reality is and then when they're.. when someone's trying to convince them that it is something is not true. I mean it couldn't be more topical for the time that we're in at the moment where we know the truth and then we're trying to be persuaded that, that the opposite is true. It can be.. it's incredibly frustrating but in terms of drama I think it's, I think it's a really interesting thing to play with.
Christopher Maynard : I hadn't even considered that part of it, my god, that you know, because I honestly these types of films that go into the subconscious and sort of dream logic those have always been ones that I've been attracted to where it's not all given to me on the first viewing necessarily where I think I could probably explain the film or understand it in a very simple one-sentence explanation but then there's so, they're so much deeper and so much richer you can go back to them time and time again and it's usually something where they tend to divide audiences down the middle.
Richard Armitage : Absolutely.
Christopher Maynard : Yeah so and you know, something like Lost Highway is something that I think a lot of people just flat-out hate but that's one that I don't even know that I understand it but I go back to it every couple of years because I feel like I need to just take another stab at it.
Richard Armitage : Oh that's a new one to me, I'll have to check that one out but, but I know I agree with you and I think you have to be really, really careful with the audience because I think the worst, the worst type of drama is this the, the you know, they used to do it a lot in soap opera where they'd want to get rid of a character so, so a character would wake up from a dream and everything had been a dream and then they could carry on with what was real and it was a way of dispensing with all of the story but it's so.. I mean and it actually happened to me in a drama that I did in the UK called Spooks which the character turned out not to be the person that he said he was and but then of course all of the history that you've put in place from before suddenly becomes false and irrelevant and I think that's.. you have to be really careful that you don't betray an audience by making it too obscure and you know one of the, one of the risks with Sleepwalker is that you know still allowing the audience to follow and to sort of not cheat them out of the explanation at the end and hopefully we did that.
Christopher Maynard : Yeah, I think you without ruining it to getting into anything overly specific with it. I think it walks the audience enough to it where they're satisfied by it. I can just use my wife as an example because she really does hate ambiguity in film, but it's something that I've very attracted to and she enjoyed the film so I think that if we're both satisfied you definitely got the balance.
Richard Armitage : Oh that's great and the thing is you know one of my.. one of the mantras that I have as an actor and a storyteller is that I always, I always put in place everything that's real and everything that exists but you don't necessarily have to show everything or know everything.. you.. It's often.. And it's often useful that the character doesn't know a lot of the story and but the audience doesn't see a lot of the story or a lot of the, the happenings in the piece it's as if we that the whole thing exists but we only shine a light on portions of it so you just get glimpses of something. I think you know in the same way that music and art can also do the same thing that get certain moments different, different themes come forward and the others remain in the shadow is already I think that, that adds a really kind of rich texture to whatever piece you're working on and this genre in particular is was very much in that vein and I remember Elliott referencing a kind of film noir actually it's towards the end of the movie when this thunderstorm happened and I really loved. Maybe I've always said I'm an actor that I love working in the shadows and just kind of stepping into the light occasionally and it really suited my personal taste.
Christopher Maynard : I think that, that, that actually in a literal sense but as the aspect of that, that yeah you need to just if your film is nothing exposition and you're laying that the entire time it can be very and frustrating to watch actually. I think that's more frustrating to be to my hand held through a story as opposed being left on my own to figure it out and I'm just wondering as far as the of the world building that you do and you're with the character is that something that you try to do that on your own or is that something you expect to work through with the writer/director?
Richard Armitage : It depends on the taste of, of the writer/director. With Elliott, he was really into detail so he.. we both created a sort of playlist of music in tandem with each other and so I listened to a lot of Nicoletti and Max Richter and all kinds of different textures of sound but he also was very interested in, in smell as well for the other actors so I... he said go find a kind of fragrance or smell that, that one character will wear and then on the days when you're playing another character don't wear it so that there's that you can give.. you can offer the other actor a sort of almost like a sense memory that, that you're programming the other actor with, which I, I've never done that before and I think it was really interesting to play with it
Christopher Maynard : That's so brilliant, I never..
Richard Armitage : It's very subliminal.
Christopher Maynard : because if you think about it in your own personal lives there are certain smells that you have that can be so evocative and so powerful and they can instantly pull you back. You know, I can think of, you know, bread cooking fresh in my mom's kitchen when I was a kid and those kinds of things with wisps of that it just takes me back emotionally to that place.
Richard Armitage : Yeah I mean and it.. it's the same with taste. I mean I studied Proust in drama school and the essence of his story is all about the triggering of memory and of course this piece is about dream and memory. And all of that recall comes from smell, taste and sound so music, you know, a fragrance on the body of somebody or the tea that you're tasting it's all connected to our odd deep subconscious and you know, you as a person you get, you'll just get hit with a sudden what, what wave of memory that's triggered by something. You don't always know what it is you can simply just walk past you... and you smell them but and it was really interesting to just offer that to honor. So for the days in the hospital bed when she was waking up. It, you know, it, that, that character would smell different to the guy that she was in a relationship with so it was interesting.
Christopher Maynard : And can you talk a little bit more about your working relationship with her? How was it to sort of find these characters together because it's your relationship is definitely one of the more complex ones so I would imagine that you've had to take on.
Richard Armitage : We had such a good time working together and actually we... all of my work was with her whereas she worked with lots of other members of the cast but I actually, I actually felt very protective towards her because I could see, you know, it was.. it was quite a fragile character and you know she was leading the movie so I could see, I could see sense that there was a weight on her shoulders so you know I, I guess I fell in line with Dr. Scott and I started to feel, you know, kind of paternal towards her and then of course they're in a relationship together and I didn't want her to get hurt so I.. you know.. the both of those things kind of moved between actor and character but we sort of stayed in contact and then, you know, later on last year she was doing a musical and on off-broadway and I kind of went to see her and then I ended up playing in the same space that she was in, in a play that came in directly after so she came to see me and so it was really interesting how but just a little thread of relationship from the film kind of moved into real life and, you know, I'm somebody that I, I really wish the best for her I sort of want to champion her as an actor so it was really nice to find that through, through a film.
Christopher Maynard : And I mean she's wonderful in the movie and I mean I think I probably first noticed her in Fruitvale Station but she's, you know, and going back through it and she's been doing some really interesting work and it's somebody that I think she could definitely become a huge name for sure.
Richard Armitage : Yeah, definitely. And you know, what she's got an incredible singing voice and I don't think she knew it until she tried to do it and so I was like wow I didn't know you had that voice and she said neither did I. So yeah, she's adventurous and really quite daring. You know that was it what she did in the film was, was really brave and daring in places.
Christopher Maynard : And are you a musical theater guy?
Richard Armitage : I used to be yeah many years ago it's how I found my way into theater and I realized I was kind of on the wrong track so I went back to drama school and retrained in classical theatre and but yeah this I touch on that occasionally and I enjoyed certain aspects of musical theater but I think I'd rather watch someone else do it and than do it myself.
Christopher Maynard : And is there something from that because that's so the skill set that you're with is so much different from dramatic acting and then taking that to television or film those are completely different skill sets as well. I mean they have some fundamental things that are consistent but the actual I think possibly the more tactile side of things is different and those are there things that you have taken from that into the theater or I'm sorry into television or film?
Richard Armitage : I guess not bumping into the furniture is one of them is sort of an act.. an inside actor's joke but I know it really made me realize that I just.. and I still feel this I'm just not much of a showman or a performer. I think I could probably enact the role of a showman or a performer as a character but my personality is not that, not that type of actor and I realized that when I started working at a more different, a different psychological level and we did something in drama school called a private moment exercise and I also used it when I did The Crucible in London and it's really about doing something very personal and repetitive that people observe you doing and I realized that that's where my part lays in terms of drama I'd rather be observed rather than push or show something to an audience in, in a kind of virtuoso way so that's the difference for me in terms of style. I think and as a person as an audience member I'd rather observe somebody doing something than have something sort of thrown at me.
Christopher Maynard : And is that something where do you feel protected of your personal life and sort of who your personal identity is because you know acting can be very vulnerable but if you're distancing yourself from the character in that way is that's something where you keep that arm's length distance?
Richard Armitage : A little bit yeah I mean you always bring bits of yourself to the to the roles that you're playing and when sometimes bits of the role that you're playing kind of enter your own life so I find myself now like if I play the character which has a very visual kind of identity that for a few weeks after I'll still keep dressing like that character and I can't shake it off because I've sort of fallen in love with those traits you know even with something like, something like red dragon that I played in Hannibal. You know there was a glimmer of a moment where I actually considered getting that full body tattoo. I just, I just found it fascinating and I loved having that kind of artwork on my back but you know I was advised against it for various reasons but, but there was a moment where I probably could have gone through with it. But but yeah you sort of take these things up and it's one of the things I really enjoy about the work that I do is that you, you know the preparation is about laying all of the foundation work and almost tailoring the garment and then you get inside of it and you wear it for a while and then it starts to really fit you and feel comfortable to the point where you feel you're not acting anymore but then getting rid of it afterwards can take a little bit of time but you know.
Christopher Maynard : Was there anything that you took from a Dr. White into your sort of personal life afterwards?
Richard Armitage : Um that's a good question. I, I guess, I guess the sense of study was interesting in him and actually in I've played a doctor once before and in a much more kind of immediate medical drama and I really, I really enjoyed sort of watching the size of your scene partner's pupils change shape during the scene so this idea of someone that's studying another person. I think that really reflects me as a person more than, than any other character that I think I am somebody that studies and waits and watches and listens before pitching in with my opinion. In fact I can sometimes wait for far too long and to my own detriment. It's very fashionable now to pitch in first with your idea but I think I probably draw back to the character and took it away with me you know the sense of observation.
Christopher Maynard : And this film is one of those ones that I, I have a tough time with because I, I want everybody go out and see it but I know clearly this isn't a film that's going to necessarily work for everybody but I want everybody to see it cuz I think it'll probably work for more people than might give it a chance who do you think this film should be who do you think should be seeing this?
Richard Armitage : Gosh, that's a good question. I would probably say anyone that's interested in the subconscious oh and that probably is most people I think anyone who's ever had or has very, very vivid dreams and almost some people remember them some people don't but that, that sense of frustration when you literally wake up from the dream and you're already forgetting you try to remember the immediacy of it and it just disappears from us so but you know anyone that's interested in that. And, and you know, I think that as somebody that trades in imagination and I, you know, I crave those moments where I read a book and I'm transported just for that, for that period where you're reading one chapter where the rest of in a reality falls away if you have that ability because some people don't some people and I think people are losing the ability to completely disappear from the world for a second whether you know you can be sitting on a tube train reading a book and you can just forget where you are for a second anyone is interested in that I think this film will appeal to them because you're going to lose yourself a little bit in the maze that Elliott Lester created.
Christopher Maynard : You know you actually touched on something earlier that resonated with me that I think ties back into that last part where you said as you've grown older you read more nonfiction and that seems to be where you end up spending your headspace more. And I have to force myself to read fiction at this point because I'm automatically drawn to you know, I just kind of feel like when I'm sitting down to read a book I don't get to do it nearly as often as I would like I need to, you know, kind of work out a little bit while I'm doing it I need to make myself a better person for doing it and I think I've lost some of that just losing myself in something and I think we need to get back to that more as adults and sort of realign ourselves with our imaginations.
Richard Armitage : Yeah and also you know this.. you always just need to, you know, read what's the latest thing what everyone else is reading, you know, sometimes it's nice to go back and reread a book that you've read before sometimes many times before because you re-enter the world that you've already created and ,you know what, you know, you know, all the doors and exits and that's how I was felt about Tolkien when I went to work on The Hobbit I knew that, I knew that book so well I read it in school as a little child I revisited it as a 40 year old and I, it was like walking around rooms that I was very familiar with but I just felt different about it because I was so much older and I think that's also something that's not to be sniffed at, you know?
Christopher Maynard : No, of course not and that has to be one of those you know sort of surreal moments. I don't know if that's one of those kind of like pinching yourself things of your career when you're, you know, waking up and you're seeing your name on the call sheet and, you know, it's next to a character that you've been familiar with for probably more years than you haven't been familiar with this character. So what was that like for you?
Richard Armitage : I mean it was and continues to be a kind of marvelous flaw in the universe, I you know, I just think you know how on earth did that happen you need a six foot two guy playing a dwarf but, but yeah and you know at the same time that I'm marveling at it I'm sort of feeling the responsibility of it because it was, it was a sort of childhood character that I, you know, admired or was fascinated by and I'm taking the responsibility for every other reader and you know realizing this character into life um you know I but I, I really cherish the opportunity to do that and there are characters that I will play hopefully in the future that I coveted for a long time, you know, historic triggers that I look at and I think I'd really like to play you and, and maybe I get to do that one day so yeah, I enjoy the responsibility but I'm also remain in awe.
Christopher Maynard : You actually have one coming up that I, I think it's coming up I don't know though if you've shot it yet or not but you're doing Julie Delpy's next film I believe My Zoe. Is that correct?
Richard Armitage : I am indeed. And it's really interesting because a lot of the time I have to be talked into projects because I, I, I read them and more often than not I don't like them and then I have to be convinced about it and then I absolutely fall in love with it but with Julie's piece I knew immediately that I was, I wanted to do it. I loved the story so much it was I don't know how many drafts she made of the script, the script was and is, it's almost perfect in the state that it's at now but we're not even in production but it's just a fascinating piece to me. It's a subject which I touched on right at the beginning of my career and I won't give it away too much but it's, it's science but it's, it's veering toward science fiction but not in a kind of HG Wells kind of way in a medical way but it's a, it's a, it's a family drama and it's a tragic story of a couple that are pulling each other part in the divorce and, and then something happens to their child and then the story takes a really unusual course but I'm really excited to work with her and Daniel Bruhl and Gemma Arterton. And you know she's written it, she's going to direct it which is amazing and you know she's found the, the money and she's producing it herself she's like a little one-woman film industry all on her own and so I feel really privileged to be going to work with her.
Christopher Maynard : She's done some amazing work. She's one of those people that it's pretty much anything that she attaches her name to. I will, I'm on board day one so I'm really excited for that project for sure.
Richard Armitage : She's got great taste and you know her style of work and her style of work as an actor I think is fascinating and one of the things that you know I talked to her
about when we, when we've met over the last few months was how do you, how do you feel directing yourself and she said you know I, I get so engrossed in the story I forget to put myself in the movie I forget to film myself because I'm so fascinated with the story but and I found that really, really delightful because clearly she has no vanity or narcissism she's just a great storyteller so I'm really excited about this project.
Christopher Maynard : And is that something that you would see yourself doing at some point would you want to go into directing and do you think you would be able to direct yourself?
Richard Armitage : I don't know if I'd be able to direct myself. I wish that you know, I wish I could find the intelligence to become a director and maybe I will maybe I will, who knows? But it, but um, we'll see, we'll see I mean I think I'd have to become a writer as well at some point but then yeah.
Christopher Maynard : I think you've probably at this point been around enough sets and been around enough people to at the very least know what not to do and that can be a ... [to start with]
Richard Armitage : That's true. And yes, yes I think I might, I might be in danger of it but a kind of indulgence because I love actors so much and I love watching what happens between two actors or I could just let it live on and on and on sometimes the director has to cut and but there's less and less actually because we work on digital you can play a scene and then let it live for a couple of more minutes afterwards but I might watch them for hours still be filming it.
Christopher Maynard : That's one of the disappointing things about Robert Altman passing when he did it seems like he would have been the type of director that would have just absolutely flourished in the digital age just with being able to he seemed like somebody that just would let actors play for hours and I couldn't imagine the stuff he could have pulled off if he would have just had pretty much limitless time.
Richard Armitage : Yeah well that's the thing at the moment it's again it's the frustrating thing as an actor is that you, you kind of apply yourself to what you're given and what's on the page but sometimes with delay or repetition something completely unexpected happens and more often than not the director has cut this or that happens and so you know I mean which is why it was great to work with Peter Jackson because he really, he really didn't. He would let the scene run and run and run. He'd, he'd discover things in the moment but sometimes time on television for example, you know, you get, you, your call, you hear the word cut before you've actually like hit the moment where something unexpected happens.
Christopher Maynard : That's a that I would imagine that has to be one of the big challenges of working in television just the schedule being so tight.
Richard Armitage : Yeah, I know. You know, and I always kind of go into the project and one of the things that I, you know, say to myself and to the director and to my scene partners is. You know, I'm here because I want to, I want to find out what's not on the page and I also want to surpass my own expectations and everybody else's and you can only do that when you, you know, you allow yourself to get the scene, that you, that you're given and then look for something more or wait for something more sometimes.
Christopher Maynard : And I just want to say one kind of side thing here I, I feel bad because normally when I interview somebody I always make sure that I've seen the specific piece that they're working on twice just because I want to watch it once as an audience member and just let it wash over me then once a little bit more critically and then I try to see other recent things but you were so fucking busy that I couldn't catch up with all the stuff you've done.
Richard Armitage : Oh thanks that's all right.
Christopher Maynard : No, no, and, and I was it's something that I just this has got me back on track to see Pilgrimage which is something that I have been meaning to check out and just you've had a hell of a year and it's kind of all over the map with Sleepwalker Pilgrimage Berlin Station the TV show and then the Castlevania series it's just...
Richard Armitage : Yeah
Christopher Maynard : I can't pin it down till I find the through line to all those things. What is it for you that attracts you to all these different projects?
Richard Armitage : It's the absolute variety of roles that I am lucky enough to kind of take on I mean I, one of the reasons I loved Pilgrimage so much and jumped on board was just to play a character, that is, that speaks a foreign language and lives in a period you know which is so far away from modern reality and yet resonates with a kind of fascination with iconography I just thought oh that's a really interesting idea and you know at the beginning of this year I was, you know, on the set of Ocean's 8 playing, playing a really kind of indulgent kind of art curator and I thought yeah how do you, how do you kind of jump from one to the other but it's, it's, you know, it's one of the things that is just so attractive about what I do and also kind of frightening sometimes that you just don't know what's coming next and you have to really open up your mind and your heart and be like okay let's see what the universe throws them in and you know be ready to jump on something that it's like ah never done that before something really unusual so that's really what draws me to it and I've never really been driven by, by money so, you know, it can be the lowest budget and sometimes no pay but if the character is interesting and, you know, I've never done it before I'll let myself go there because the riches you get from it are not financial they're artistic.
Christopher Maynard : And you, you're fortunate that you get to balance both of those and you can find interesting work on all, all sides it seems because you know the stuff that you were doing on Hannibal I mean that that's was one of those shows that was just woefully under watched here in the States so I thought I had a it had a clearly a very you know strong following the people that were watching were very loyal to it but my god that was just a they were doing things on there that I couldn't believe they were getting away with not only from just the sort of the shocking side of it but from a story perspective that the stuff they're doing with that was beyond what I expected from that.
Richard Armitage : Yeah on a really like incredible artistic reach, you know, Bryan Fuller's vision was so extraordinary and you know it's really it's a real privilege to go and work with somebody like that because you, you have to get in pace with, with that vision and it makes you think in a different way when you understand that someone is looking at detail in the way that he is it makes you even more detailed because you know that it's going to be studied and appreciated and absorbed into the, into the material but you know the subject matter was a really, really difficult one but he made it somehow kind of an extraordinary artistic explosion and I always said that I would that I shy away from horror but this was a this was a character that I found fascinating and the writer found him fascinating as well but yeah that was a real privilege to be part of.
Christopher Maynard : Well I would honestly say that Sleepwalker in a lot of ways. It, it plays a lot like a horror film does but it just doesn't have the normal sort of the excessive violence or these other sort of things that directors and writers use to shock an audience to unnerve the audience but I do feel like there's a design here that's supposed to make the audience very uncomfortable that's evocative of horror films the great horror films and so it's definitely a thriller but it does have that horror like a great horror element to it as well.
Richard Armitage : Yeah, yeah, I would say I mean it's, it's interesting how, you know, the kind of material that comes forward in different periods of time like horror it's sort of top of the list at the moment or genre what do they call it elevated genre which is kind of artsy horror I don't know why we have a taste for it at the moment but it but what we do and I you know I think a certain, a certain level of discomfort in a film auditorium is, is not you know it's not something that I shy away from you know I recently went to see Don't Look Now which was playing in my local cinema I haven't seen it on a big screen before and I don't know if you remember that movie with Donald Sutherland and Julie Christie yeah but and but I'd forgotten how you know horror doesn't necessarily have to be heads being decapitated or flying towards the camera in 3D and what's in your mind is it can be far more unsettling than the more you actually see. I hope sleepwalker kind of just taps into that, so that thing because we all have a subconscious so it there's nobody left out, you knowm even children because, you know, children dream they have little you know pill(?) dreams.
Christopher Maynard : Absolutely. I think. I think you do tap into that and that's what the why the film really works for me and I really do hope anybody that's listening to this will you know hopefully have stopped before they got this far into it just go out and watch the movie because it's something that's wonderful that I think people should definitely be checking out.
Richard Armitage : Thank you that's, that's great thing to say.
Christopher Maynard : Well thank you again for taking time out of your evening to do this I really do appreciate it and best of luck I'm seriously I'm looking forward to My Zoe and that's you know one of those ones that I can't wait to see whenever that comes out I will be there day one for that because that's just a top of the list for me right now.
Richard Armitage : Oh that's great thanks Christopher really nice to talk to you.
Christopher Maynard : You as well. Thank you. Enjoy the rest of your night.
Richard Armitage : Take care. Bye.