On April 7, 2022, Eddie participated in a phone interview a group of fans that run sites and social media accounts dedicated to him. This time the small group were able to discuss his return to the stage in the production of Cabaret and his third installment of the Fantastic Beasts Series, The Secrets of Dumbledore. As always I felt extremely honored to be one of the individuals included in this phone call. Thank you to all who helped make this interview possible.
Fantastic Beasts: the Secrets of Dumbledore is set to be released this Friday here in the United States. We were able to get a sneak peek of the film and you guys, it is awesome! I love the way the direction of this story is going and how they are building on Newt and the relationships he encounters.
The first Fantastic Beasts movie came out in 2016. I imagine one of the perks of being part of this franchise as an actor is being able to really delve into Newt’s world and his emotional journey throughout different movies. I wonder if there’s been anything about Newt that has surprised you in this new chapter? Things you didn’t initially expect from him when you first started with the character or thought you had figured out?
That’s a brilliant question. What I liked about him in this movie was the two fraternal relationships — one with Dumbledore and one with Callum’s character, Theseus. There’s this kind of fraternal thing, this leveling up, I suppose, of this guy who is used to be talked down to and dismissed and given a moment.
But the thing I love most actually is that little scene with Dumbledore, in which Newt sees in Dumbledore his own vulnerability. He’s the guy who is normally out giving counsel to the world and being kind of father to the world, and that moment when Newt goes, “We all make mistakes and you can try and make things better, and that process of trying is the important thing.”
That breath of Newt having confidence to identify his own character in other people, or his own thoughts in other people rather than just keeping to himself, was the big progression — however small it may seem — for me.
I’m fascinated by these two recent projects of yours, Cabaret and Secrets of Dumbledore. They are both hugely entertaining, and at the same time they manage to be quite thought-provoking and relevant to our world. How important is each of those elements to today’s audiences, in your view — On one hand escapism, and on the other, delivering a serious message through a cautionary tale?
I suppose that’s what I like from art. I love to be seduced, I love to be enthralled, I love to be repelled, and I love to be entertained. But what makes things have a lasting effect is, of course, that piquing of something that you interrogate after having seen the thing.
That is so rife in Cabaret and one of the reasons it’s lasted as a sort of seminal piece for so many years. There are elements in the Fantastic Beasts world — and of course it’s the magic and the whimsy and getting to delve back into this other world of pure escapism — but there are messages there and there are parallels being drawn that will hopefully make you interrogate things afterwards.
What for you was the most challenging part of making this film and what part did you enjoy the most?
COVID was the most challenging thing. I did a day of pre-shooting on a Friday, and it was a moment down in Newt’s case that actually was cut from the film, and while I was meant to start shooting proper on a Monday, I got a call on Sunday night saying, ‘This thing called COVID is causing us to stop.’ And it was four months or so until we started again.
And the world had sort of changed, and coming back to the film set — first, we felt so lucky to be going back to work; it also felt complicated because Hannah was at home having to look after the little ones. I’d been helping to homeschool Iris, and suddenly I was allowed to go back to work and my life — although the process was completely different, as far as protocols and all the specifics of a COVID film set — I was able to go back to work. Whereas most of the world, and for Hannah, it was still having to look after two very young children.
As far as the making of the film itself, they’re such big things. It’s really in David and Jo and Steve’s imagination, and we just come and deliver what we can and bring as much joy and life and vibrancy to it. I really enjoyed the silly dancing bit. It’s not often that, as you guys know, I get into something that’s comedic — so it’s fun. There’s a kind of physical comedy element to it that I really enjoy.
That’s great. That plays perfectly into Ali’s first question.
ALI: During your time portraying Newt, you have been able to add some comedy to your portrayal. In the first film, most memorably, you did the mating ritual with the erumpent, and now we’re seeing the manticore dance. You’ve described these as a kind of ‘ritual humiliation,’ but they’re giving you quite a reputation for physical comedy. How hard is that for you, as an actor, to do? What kind of pressure does it put on you when you see that kind of bit in the script?
All I see when I see that bit — I say it’s humiliating, and of course it’s also deeply joyful. I love try to get into things that are outside my comfort zone, and particularly physicality has always been an interest. I’ve always enjoyed making it a part of my process.
After Fantastic Beasts and before Cabaret, I went to this school, [Ecole Jacques] LeCoq, in Paris — this very famous physical theater school — and I went and did a workshop there for a couple of weeks. It’s a school I’d always heard about, always wanted to go to, and not specifically in preparation for anything in Cabaret — it was more about just feeling slightly in a rut, and I felt re-inspired by The Good Nurse, and I wanted to go and just fill my mind and push my myself in different directions and fill my mind with other stimulants.
I enjoyed it SO much, and it really sort of re-affirmed that kind of clowning, physical element of performance is something that I just get off on. I never went to drama school, and so this felt like a moment to go and just throw myself and watch other actors from all over the world, all different generations, trying things and failing at things.
We were all trying and failing — and pushing myself outside my comfort zone so that when I came to the rehearsal room for Cabaret I felt completely free to try whatever.
What a great insight into your performance in Cabaret, the preparation — that’s fascinating. Erina, I’ve lost track of what time it is there (New Zealand), but you can tell Eddie and ask your first question.
You really don’t want to know what time it is! (Laughter)
Awww, what time actually is it? Is it something like 4 in the morning?
It’s 2:45 a.m. on Friday.
Oh, my God. You’re amazing, you’re amazing.
I was worried my alarm wasn’t going to go off, but I’m here, so we’re good, we’re good.
If it’s any consolation, I’m about to be closer to your time zone. I’m about to go to Japan, so if we’d saved this for a few days, we could have been in a similar time zone.
So my question is about Dumbledore. Which Dumbledore would you rather hang out with, the young version from Fantastic Beasts or the kooky older one? And why?
Hahaha. I really love Jude Law. When he came onto these films it was such a treat for me because he’d been an old pal. I hadn’t known him that well but socially, and sometimes you click with actors as far as what your process is, not just on set but also kind of in life — but he brings kind of his full-bodied wonderfulness to set. I love him.
We did a lot of questions about what it was about Dumbledore and who Dumbledore is, and Jude just has that kind of gentle, condescending-like wisdom, extraordinary talent, and this kind of slight twinkle in his eye, a funny man.
Certainly in this film, there’s a bond between Newt and Dumbledore growing that’s unspoken, but there’s a trust. I love that. I don’t know how the elder Dumbledore would be towards Newt, but maybe one day when we’ve both gotten even grayer, there will be a sort of Dumbledore moment in Dorset or where Newt’s meant to end up…
I’m going to ask the question that pretty much everyone is asking: How was working with Mads?
Mads was pretty extraordinary. He arrived with so little prep, and he’s genuinely one of the coolest people I’ve ever met. He has an inherent relaxed-ness to him, but he’s also sensationally talented and also really comfortable in his skin.
Tobias Lindholm, who directed The Good Nurse, had written Another Round, a film which Mads had done, and adored Mads. So we had some friends in common, and he was just magnificent from the word ‘go.’
It was all in his eyes, and you just felt this genuinely terrifying figure emerge. What I loved also, going back to the physical element, is that Mads was a dancer, and so watching him do some of the duels with Jude, and the subtle physicality of the thing, was extraordinary.
I really love the relationship between Jacob and Newt — the chemistry plays so well together. How does Jacob receiving a wand and experiencing what it’s like to have magical powers impact that relationship in this film and potentially in the future?
I have no idea, Marci. It’s interesting, because in some ways I’ve loved the new relationships that have developed in these movies, and I adore Jessica Williams, who brings such a new vibrancy to the films.
But I also have a sense of sadness that on the first movie it was Katherine and Dan and Ali and I, and we got to interact a lot. And what’s strange about the movies now is that I sort of barely get to see any of those guys.
When Jacob arrives on the train and Newt sort of — it wasn’t in the script, but I instantly wanted to give him a hug, because that’s uncomfortable for Newt, but at the same point, there is such love there between those two characters, and it’s sort of instinctive. Even though Newt isn’t particularly comfortable with physical interaction, there’s such joy there.
Dan is a true improvisational genius, and across all of these films, some of the funniest moments have been his improvisations on set that end up in the movies. It’s a real delight to watch. Everything is 100 percent real coming out of his mouth, and I think when they saw in the first movie that Dan had that extraordinary facility, they sort of — certainly in this movie, less of course in Grindelwald — but they realized that allowing him to riff is part of the joy. So it’s such fun getting to work with him.
We’re going to veer off into Cabaret a little bit. Seeing you in Cabaret — more than once — and understanding how instrumental you were in bringing it to life in such a remarkable way really showed the depth of your talent. It seemed from what your colleagues say and by your own descriptions that you almost functioned as a producer on this, and I wonder if the experience is encouraging you to do more behind-the-scenes work on stage and film, including maybe directing?
I was a producer on Cabaret — like a silent producer, if that makes sense. I had quite a lot of input into the — obviously Jessie and I. The guy who produced, who created the venue when I did it at the Edinburgh Festival was the guy who came to me years ago, and then when I was thinking about doing this, I was thinking about Jessie, that instantly rang true.
So we were allowed to be, Jessie and I, at the forefront of those creative choices. Now once Rebecca (Frecknall, the director) came on, it was entirely her show. But as far as the way it was marketed, the way it was put out into the world, the secrecy of the thing — I kept wanting it to be something that if we had faith in what we were doing and if it became where you couldn’t photograph everything, that we wouldn’t release every image with hundreds of videos going out into the world to begin with —something that you had to come and see it live.
These were all sort of collaborative ideas, and I’ve always worked like that, whether it was on The Theory of Everything or the smaller films. I’ve always loved that ‘company’ way of working and that input.
Now with something like Fantastic Beasts, you just don’t have that. The productions are so grand and expansive that there are so many voices there. But it is something I love.
I love creating things as a team. I love having a voice beyond purely the performance. Because often — I suppose it’s because being an actor, you lack so much control, particularly on film. You know, you create this thing in your head, you give this performance, and then it’s taken totally out of your hands, edited by other people, and it tends never to resemble what was in your head.
Now of course that’s the brilliance of it because the alchemy is other people’s interpretation. But sometimes you want to at least have your voice heard. And so producing in the vaguest sense of the word — having more input than just your performance — has always been quite important to me.
As far as directing is concerned, I think I would love to direct a film one day. But directing is so all-consuming for so many years. It’s got to be a piece of material that for me, OK, I’ll give up four years of my life for something that could well fail, but this story has to be told, and I feel like I have the capability to tell it. I’m not quite there yet.
What a great answer. That was so full of insight.
What caused you to make the decision to return to the stage, and and what was it about playing Emcee that made this particular role the right one?
I first did Cabaret when I was 15, in a school production [Note: at Eton College], and it’s been a bit confused in the press — I did a student production at the Edinburgh Festival when I was 19. When I did it when I was 15, it was a tiny little thing, but I look back on it as a time before I had any technique or self-scrutiny. And there was something instinctive in that part — it was purely instinctive, and I enjoyed it so much.
I remember it was my parents, who have always been super supportive but weren’t from this world at all, they always say that was the moment that they thought that I could be an actor. I had in my head that has always been something tempered, restricted — there was instinct related to this part — and so when I was asked if I would consider doing it, that had always been a dream, that had been a childhood dream, the idea of getting to do it out on the West End was a dream.
I said you’d be mad not to try and do it, and then I thought of Jessie. This is the version of Sally Bowles — I felt like she would be such an extraordinary actor and such an extraordinary singer, and has such total immersion and freedom. I was like, this is a reason to do it.
There was a moment a few weeks into rehearsal when I was like, how dare I do this? What was I thinking? Just because you were in a position where you’ve done some movies so you could get something financed — what were you thinking, playing this seminal iconic role — that just because you felt like you were OK when you were 15?
And I’ll never forget, there’s a wonderful member of the cast called Emily (Benjamin) and I was having a bit of a bout of insecurity, and she said, ‘You were cast for a reason.’ And I said, ‘No, Emily, that’s not true — I cast myself.” (Laughs)
The fact, honestly, that it went well — I couldn’t imagine the physical elements of doing Cabaret, how absolutely exhausting it was. The idea that if it had gotten horrendously reviewed, if no one had come to see it, the idea of doing that day-in-day-out, I can’t even imagine.
But that is the way I make decisions in the theatre: I go for the most pessimistic. I’m like OK: So the company — everyone hates each other. The rehearsals are a nightmare. No one comes to see it. The reviews are a disaster. Is there enough in this material to sustain me for four months?
Cabaret is one of the very few pieces in which that is a no-brainer. Getting to sing those songs and interact with an audience — even if there are only three people in the audience — that was a big ‘yes’ for me. So it was about fulfilling childhood dreams. That was a really long and ranty answer…
Since you’ve just been on stage again, and since there’s now a precedent for Harry Potter coming to the stage — do you see any potential for any kind of stage version of Newt Scamander’s story?
Wow. I think fundamentally Newt doesn’t project much, does he? I mean as far as his literal vocal [projection] — other than when he’s doing that scream at the beginning of the erumpent scene. I just worry that no one would be able to hear him. People struggle to hear Newt on film, let alone on stage. There’d have to be some very good miking.
But I feel like there’s perhaps a potential musical version out there. He’s got a lot of moves that he’s accrued over the years.
It does make me laugh — where does the manticore dance come from? My kids, when they have a bath, I stand outside the bathroom door and I just walk back-and-forth across the door doing weird dances because there’s nothing quite like a 3- and a 4-year-old cackle — like a proper belly laugh.
There’d be that ‘Walk Like an Egyptian’ thing, and that’s basically where the manticore dance came from. That’s the one they found actually the funniest.
When it came to doing ‘Willkommen’ in Cabaret, in those sort of opening moments, there was even a little bit of manticore dance that made it into there. I’m sort of restricted by my physical inabilities, so I feel I put a bit of Fantastic Beasts into Cabaret. I’m not sure there’s a fully-fledged theater version of it.
I definitely saw the similarities there in a couple of those moves.
I’ve got a very limited repertoire.
But it’s growing, though — it’s growing. Thank you so very much for doing this. We can’t tell you how grateful we are. Good luck at the Oliviers! And we look forward to going to the dark side with The Good Nurse and chatting with you again.
And thank you guys for everything, for being so supportive. When you came to see Cabaret, I had to be quite monastic while I was doing Cabaret. I’ve never done that — I had to go home every night and try behaving like an athlete, but it meant the world that you guys came, so thank you.
The West End production of Cabaret featuring Eddie Redmayne leads the roster of 2022 Olivier Awards nominations released Tuesday, with the musical revival scoring 11 nominations.
Winners will be announced April 10 at London’s Royal Albert Hall, marking the first in-person ceremony for the Oliviers since Covid hit two years ago.
In addition to Redmayne, who was nominated in the Best Actor in a Musical for his performance as the Emcee, Cabaret was nominated for Best Musical Revival, as well as nods for actors Jessie Buckley, Liza Sadovy and Elliot Levey. Also nominated were the revival’s costume and scenic designs, sound design, choreography and lighting.
Best Actor in a Musical
Olly Dobson, for Back to the Future the Musical
Arinzé Kene, for Get Up, Stand Up! The Bob Marley Musical
Robert Lindsay, for Anything Goes
Eddie Redmayne, for Cabaret
Best Musical Revival
See the entire list at Deadline.com
April 15th is on my calendar …
Professor Albus Dumbledore (Jude Law) knows the powerful Dark wizard Gellert Grindelwald (Mads Mikkelsen) is moving to seize control of the wizarding world. Unable to stop him alone, he entrusts Magizoologist Newt Scamander (Eddie Redmayne) to lead an intrepid team of wizards, witches and one brave Muggle baker on a dangerous mission, where they encounter old and new beasts and clash with Grindelwald’s growing legion of followers. But with the stakes so high, how long can Dumbledore remain on the sidelines?
Hooray!!! I am so excited! Here is the article from Deadline!
The third installment in J.K. Rowling’s Harry Potter spinoff Fantastic Beasts and Where to Find Them has set a release date of April 15, the studio said Wednesday. That’s Easter weekend next year for the pic, which now has a title: Fantastic Beasts: The Secrets of Dumbledore.
Warners is moving up the movie from its previous July 15 slot. Remember, all event titles on the Warner Bros slate are purely theatrical next year, not day-and-date on HBO Max. Warner Bros already had Easter weekend on hold on the schedule for an untitled event movie.
Easter weekend always has been a vibrant period for Warner Bros, with such notable box office debuts as Batman v. Superman ($166M), Clash of the Titans ($61.2M), Ready Player One ($47M) and most recently the movie that brought moviegoers back from the pandemic, Godzilla v. Kong (which made $48M over five days).
Fantastic Beasts: The Secrets of Dumbledore will go up against DreamWorks Animation’s The Bad Guys via Universal, and Paramount’s Sandra Bullock-Channing Tatum adventure movie The Lost City of D. No word yet if those two studios will do something brazen and put both titles on streaming and in theaters day-and-date.
David Yates returns to direct The Secrets of Dumbledore.
The two Fantastic Beasts movies have grossed a combined $1.46 billion worldwide. Altogether, with the $7.7 billion made by the Harry Potter franchise, the Rowling Wizarding Universe counts close to $9.2B at the global box office.
In the Fantastic Beasts and Where to Find Them series, Eddie Redmayne plays Magizoologist Newt Scamander, a collector and tamer of mystical beasts who makes his way through the secret wizard communities of New York, Paris and London during the late 1920s. The movies also have starred Katherine Waterston, Alison Sudol, Ezra Miller and Dan Fogler.
Johnny Depp, who had portrayed villain Grindelwald in the franchise, was cut from the latest movie following allegations of being a “wife beater” per the UK courts in November. The part was recast with Mads Mikkelsen.
Collider.com has shared that Eddie is signed to a new project.
The prestige project represents an edgy departure for the Russos’ company AGBO Films.
Oscar winner Eddie Redmayne is attached to star in the untitled Cambridge Analytica movie for Joe and Anthony Russo’s company AGBO Films, which is in talks with two-time Oscar winner Peter Farrelly to direct, Collider has exclusively learned.
A representative for AGBO had no comment.
Avengers: Endgame scribes Christopher Markus and Stephen McFeely wrote the script, and the project is financed and ready to go into production, though just like last year when we reported that Matt Shakman was in talks to direct, it’s still anyone’s guess as to when that will actually be. The project was initially slated to be directed by David Gordon Green.
Redmayne is poised to play Christopher Wylie, the pink-haired data consultant who hatched the idea of Cambridge Analytica, a data analytics firm that illegally harvested the personal data of 87 million Facebook users in order to influence Donald Trump’s presidential victory and the Brexit vote. Wylie’s guilty conscience led him to become a whistleblower and tell his story, both in court and in the press, and it was an article in The Guardian by Carole Cadwalladr that was acquired by AGBO and serves as the catalyst for this project.
The Russo brothers are producing with their AGBO partner Mike Larocca, and the Cambridge Analytica project represents an edgy departure for the company, as well as screenwriters Markus and McFeely. 30WEST is executive producing and shopping the Cambridge Analytica movie with AGBO, and several distributors are said to have already expressed interest in the prestige project.
Redmayne recently starred in Aaron Sorkin’s The Trial of the Chicago 7, and strangely enough, the Cambridge Analytica movie sounds like the kind of compelling film that Sorkin would actually make. The British actor recently wrapped Netflix’s thriller The Good Nurse with Jessica Chastain, while Fantastic Beasts and Where to Find Them 3 has already started test screening in certain areas. That film will be released on July 15, 2022.
Farrelly is coming off of Green Book, which won him a pair of Oscars for Best Picture and Best Original Screenplay. He’s currently prepping Apple’s unique Vietnam movie The Greatest Beer Run Ever starring Zac Efron and Russell Crowe, and he’s also developing a sequel to Kingpin with his brother, Bobby Farrelly. The director is represented by Anonymous Content and CAA, which also represents Redmayne along with United Agents.
A few days back Eddie and Hannah attended the Wimbledon Championship games – his first public appearance since the beginning of the year. Eddie was seen in the Royal Box along with Sam Mendes and Sir Trevor McDonald. He looked handsome in a cream woollen Ralph Lauren suit.
I have had so much fun the past few days going through all of Eddie’s photoshoots, upgrading shoots that were already in our gallery and added new images and new shoots that were missing! I love seeing how he has evolved through the years!
– Eddie Redmayne Web > PHOTOSHOOTS > Outtakes > Last Additions
The Daily Mail shares the exciting news that Eddie is headed back to the West End!
Willkommen! Oscar-winner Eddie Redmayne is close to fulfilling his dream… of playing the decadent master of ceremonies in the classic musical Cabaret in the West End.
And he is tipped to share the stage with Jessie Buckley, who will play Sally Bowles.
This column can reveal that a new production of Cabaret — starring the powerhouse duo of Redmayne and Buckley — is due to begin performances at the Playhouse Theatre, near the Embankment in London, in early November.
The show is centred on a seedy Berlin after-hours haunt called the Kit Kat Klub, in the last gasp of the Weimar Republic, as the Nazis ascend to power.
Joe Masteroff wove his story — about a naïve Englishman who goes to Berlin; a cabaret with a grotesque host; and the joint’s star turn, the English Fraulein Sally Bowles — from Christopher Isherwood’s The Berlin Stories and John Van Druten’s play I Am A Camera.
John Kander and Fred Ebb provided music and lyrics, Harold Prince added his innovative showmanship, and theatre history was made.
Joel Grey became indelibly associated with the role after playing the Emcee in that first production in 1966 — and later in the 1972 film.
But Alan Cumming also left his mark; playing the menacing charmer in London in 1993; and on Broadway in 1998 and 2014.
Redmayne was just 19 when he first tackled the role; as part of an amateur troupe that took Cabaret to the Underbelly at the Edinburgh Fringe in 2001.
And during one of my earliest interviews with him, he expressed his desire to play the Emcee professionally in London.
He has musical form, having played ‘workhouse boy number 43’ (as he put it) as a ten-year-old, in the Cameron Mackintosh production of Oliver!
That show was directed by Sam Mendes who, incidentally, directed an acclaimed Cabaret at the Donmar Warehouse (starring Cumming and Jane Horrocks), and then on Broadway (co-directed with Rob Marshall) with a sensational Natasha Richardson as Sally Bowles.
I have since seen Michelle Williams, Emma Stone and Sienna Miller play Bowles (all opposite Cumming). Strangely, though, of the many Cabarets I’ve watched, it was Rufus Norris’s version, staged at the Savoy Theatre (and produced by Bill Kenwright), that hit me hardest, with its warnings of fascism, nationalism and prejudice.
Redmayne also told me that he was ‘obsessed with singing’ when younger, so it didn’t surprise me when he was cast in the movie musical Les Miserables.
Earlier this year he completed work on Fantastic Beasts And Where to Find Them 3; and he is now in New York, filming The Good Nurse.
But all film work’s on hold from the autumn, so he can prepare for a solid run of several months in Cabaret.
His co-star Buckley, meanwhile, still has a couple of film projects to complete before principal rehearsals (pencilled in for October).
She’s been in constant demand since she broke through as Marya Bolkonskaya in the BBC’s War & Peace; appearing in various other TV dramas (Chernobyl and Fargo), and the films Judy and Misbehaviour.
But she really showed what she’s capable of in Beast, Wild Rose and I’m Thinking Of Ending Things. She’s marvellous, too, opposite Josh O’Connor in Simon Godwin’s National Theatre film of Romeo & Juliet, shown recently on Sky Arts.
Like Redmayne, she knows about singing (even though Sally Bowles is supposed to be untalented in that department), to which those who saw her shine in the otherwise unwatchable BBC very-light-on-entertainment nonsense I’d Do Anything can attest.
For starters, she comes from a musical family; and she’s adept at many styles (as she proved in the country & western-themed movie Wild Rose).
Her Sally Bowles will join a long stage line that includes Judi Dench, who originated the role in London in 1968.
Redmayne and Buckley have been approved by John Kander, and those representing the estates of Fred Ebb and Joe Masteroff.
Check back soon, old chums, to see what happens next . . . your table’s waiting.
Anyone excited about The Good Nurse? Well thanks to What’s On Netflix we have all that has been announced so far …
Netflix was recently on a spending spree in the Berlin European Film Market following the pattern earlier displayed in Sundance. In one of the biggest deals at the European Film Market, the streamer acquired global rights in the region of $25M for The Good Nurse, set to star Jessica Chastain and Eddie Redmayne. The movie was one of the most in-demand films at Berlin. Here’s what you need to know.
BAFTA-nominated Danish writer-director Tobias Lindholm known for his work on Borgen, Mindhunter and The Hunt will be directing the movie with a script written by Krysty Wilson-Cairns, who was nominated for an Oscar for her screenplay on 1917.
Darren Aronofsky’s Protozoa will be producing the movie along with FilmNation. The movie was set up earlier with Lionsgate before it landed in the open market at the EFM. Deadline was the first to report Netflix’s intention to move forward with buying the movie.
What is the plot of The Good Nurse and who is Charles Cullen?
Netflix’s The Good Nurse will tell the true story of the pursuit and capture of Charles Cullen, one of the most prolific serial killers in history who is suspected of murdering up to 400 patients during his 16-year career as a nurse, earning him the title “The Angel of Death”. Cullen was a married father who was thought to be a responsible caretaker before he was implicated for the deaths of as many as 300 patients over 16 years, spread across 9 hospitals in New Jersey and Pennsylvania.
The movie will be adapted from Charles Graeber’s 2013 chronicle book of these events called The Good Nurse: A True Story of Medicine, Madness, and Murder.
Who is cast in The Good Nurse?
Netflix’s The Good Nurse will be led by Oscar-winner Eddie Redmayne who is known for his roles in such movies as Fantastic Beasts, The Danish Girl, Les Miserables and more. Notably Redmayne is among the cast of the multi-Oscar nominated Netflix Original movie, The Trial of the Chicago 7. Redmayne will play Charlie Cullen, who was caught by two former Newark homicide detectives who would not let go, aided by a nurse
Alongside Redmayne will be Oscar-nominee Jessica Chastain (Zero Dark Thirty, Molly’s Game, Interstellar) who will portray the nurse who worked alongside Cullen and risked her job and family’s safety to stop him and end the killing spree.
Nnamdi Asomugha is the third star to be attached to the title in late March 2021. Asomugha’s credits include When the Streetlights Go On, Crown Heights and Sylvie’s Love. Later, in April 2021 Noah Emmerich (The Americans, Space Force) and Kim Dickens (Deadwood, Fear the Walking Dead) were also announced to appear in The Good Nurse.
What’s the production status on The Good Nurse?
The Good Nurse is expected to enter production on April 21, 2021 in the town of Stamford, Connecticut, US according to issue 1240 of Production Weekly. Filming is currently set to wrap on June 11, 2021.
When might we see The Good Nurse on Netflix?
With production starting in April 2021, the movie will probably hit Netflix only in 2022. We will wait for more official news regarding the release date.
Instead of congregating on the stage of Los Angeles’ Shrine Auditorium for their best-ensemble win at the Screen Actors Guild Awards, the cast of “The Trial of the Chicago 7” called in on Zoom.
For a video conference, they make a starry bunch. Logging in from around the world were Sacha Baron Cohen, Eddie Redmayne, Frank Langella, Mark Rylance, John Carroll Lynch, Ben Shankman and other members of Aaron Sorkin’s historical courtroom drama.
After winning the guild’s top honor, the cast spoke briefly with The Associated Press in an interview recorded Thursday before Sunday’s broadcast of the pre-taped awards. Here, slightly edited for clarity, are their remarks.
AP: You’re an especially varied group of actors with quite different styles and approaches. How did you coalesce as an ensemble?
EDDIE REDMAYNE: A lot of credit has to be given to Francine Maisler, who was our casting director. All of the characters represented in the film were so unique and so specific. I think she collected a group of actors who had completely different styles and completely different outlooks on the way to approach work. For me, what I loved when I got to see a cut of the movie was that you saw that. It was like a clash of different types of music, whether it was jazz or rock or classical — but all of that coming together under Aaron. He was the conductor, almost. So I give Aaron and Francine a huge amount of credit. It was a joy day-and-day-out to watch these great and different and varied actors slugging it out.
FRANK LANGELLA: There is something very powerful about working toward the greater good. Actors have a tendency to think about themselves a lot. How’s my lighting? Am I going to get my close-in my scene? But as I said in my speech, Aaron rose above that and caused all of us to do that.
JOHN CARROLL LYNCH: When you take a job in a movie called “The Trial of the Chicago 7,” there’s an assumption that it’s going to be an ensemble picture. It’s a self-selecting group of people who want to work with others so intimately and being willing to risk their own process in such quarters. It is a tribute to the casting and to Aaron’s script but also to the actors who said “yes.”
MICHAEL KEATON: Frankly, it’s an embarrassment to me. These guys did all the heavy lifting. I showed up for a couple days. I’m getting credit for not much — but I’ll take it.
REDMAYNE: Michael, I always think that’s more terrifying. It’s one thing to be on a job for a couple months. You had to come in for two days and knock it out of the park, and you did.
KEATON: I like actors and when I saw this cast I went, “Oh man, this is going to be ….” Even though I didn’t have much interaction with anybody, I liked it. I want to be part of that kind of group.
AP: This is the first Netflix film or release from a streaming service to win the guild’s top award. It had once been set for theatrical release from Paramount Pictures. Now you’ve won this much-sought-after award over Zoom, does it feel strange?
LYNCH: It’s very frustrating because we did theatrical-distribution acting when it turned out to be streaming acting. I don’t know about you but this is not a Zoom suit. This is not a Zoom tux.
SACHA BARON COHEN: I must say I think it’s great that it came out on Netflix. The fear with a movie about an obscure historical event is that nobody goes to see it and it’s in the specialty box-office section. The beauty of some of these streamers is that millions of people around the world saw this movie and they now know this powerful story and saw a great bit of art. That is the plus-side of this not being theatrical. Hopefully it will come out at some point in the theaters, but I think we benefited from it being on a streamer.
LANGELLA: I like it like this because I hate award shows. I go to very few but when I do — the tuxedo, the lines, people all over. This is much more civilized. I’m in my bedroom slippers. It’s really comfortable.
KEATON: I have no pants on.
AP: You’d normally about now be whisked away to some glamorous Hollywood party. Instead, you’re talking to me on a laptop.
REDMAYNE: Making films is such an odd process. You sort of come together with a disparate group of people. Sometimes you have rehearsals but on this we didn’t really have any. Actors would come in for a day or two. You make the film and you all go away again. The promoting process, sometimes, can be the moment when you actually all sit down and get to know each other. The only time we have all met up is on Zoom calls when someone like yourself is asking the questions. It feels unique. And I feel pretty lucky. But at the same time it sort of buries a slight sense of it not feeling complete.
LYNCH: There’s also one other piece of it that’s a big regret due to this circumstance. It’s not being able to go to the other actors who I’ve admired or been able to work with over the course of time in each of the films nominated, and thank them for the work they’ve done.