This guy has not been seen or understood since his wife went off the rails, and it’s very powerful. It was just a moment of what it is like for a guy like Lawrence to be seen and understood the way June sees him. It just got overwhelming in a way that wasn’t right exactly for the moment. It really hit me when we were doing some take and it got inappropriately emotional for me. Because he will put himself out on a limb as a human being to in a very truthful, vulnerable way, and then just retreat behind misogyny and patriarchy. I think it changes moment to moment, which makes this so fascinating to play. And this sounds sexist and awful, but from his point of view, he’s asking, Is this a comrade I can depend on or is this a sentimental mom who wants her baby back? So I think some of the times he’s cruel, he’s battle-testing her.ĭo you think he’s resisting his humanity, or is he starting to embrace it? He is questioning what his life’s work has brought here, and when you meet him, he is way out on a limb. I think his humanity is kind of peeking back here. He’s a guy whose big brain has overwhelmed his humanity, and his big intellect has given him this kind of clinical distance from what his ideas have created.
There was a guy named Robert McNamara who ran the war in Vietnam, who was a brilliant economist who came out of the car industry and used his brilliance at making things more efficient to kill basically 3 million people in Southeast Asia. Often, you make decisions about a character that are static, and what’s interesting about this guy is that he is constantly in play, which makes it very unpredictable. This part is absolutely fascinating because this guy - and I know this sounds so fucking pretentious - but this part changes the way you think about acting. Commander Lawrence keeps us on our toes. Who is he to you, and has that evolved as you’ve been playing him?
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