“Set in 1980s New York, Eric is a new emotional thriller from Abi Morgan following the desperate search of a father when his nine-year-old son disappears one morning on the way to school. Vincent, one of New York’s leading puppeteers and creator of the hugely popular children’s television show, ‘Good Day Sunshine,’ struggles to cope with the loss of his son, Edgar, becoming increasingly distressed and volatile,” says the synopsis for.
Tyler Treese: Gaby, the argument scenes are just so intense. How was it going to this very vulnerable place with Benedict and showing that this marriage was really falling apart far before the disappearance?: It was shockingly easy to start fighting with Benedict right off the bat . No, really so much of it is there in the brilliant writing ofand then to have Lucy Forbes, the most capable director of all, to help guide us through it. But we talked a little bit about it leading in.
So questions were asked, and there were a couple of moments of going, “Hold on. The TV schedule. Hold on, hold on.” We just need to talk about the nuts and bolts of this ’cause I don’t know what I’m doing. You’d have to just pick certain bits apart. But like Gaby was saying, Abi and Lucy were there and amenable and provided the space and the safety, encouragement, and the elimination of ideas or the investigation of them to make it work. So it wasn’t a hardship in the end.
Benedict, your character is a puppeteer. We see the show you created, “Good Day Sunshine, ” you’re handling the puppets. How was it learning the basics and some puppeteering for this role?: Joyous. Joy of joys. It’s just one of those things. As a 47-year-old adult, you just kind of go, “Thank God I’m an actor, and I get to have an excuse to learn to do this.
here were some, for all of us, especially Olly and the team, really frustrating moments where the only vision he had was through these fixed-point cameras. So it’s rather like watching CCTV footage of yourself. He doesn’t see what we see with our normal peripheral, immediate foreground, and background focus. He’s just trapped in three lenses and still has to move around seeing what he’s doing as an effect. So the camera may be on his left, but he’s moving his right arm.
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