Viva Seifert Ac­tor, mu­si­cian How in­tense was the shoot?

It was awk­ward, hard, cold and strange. Ex­actly what it should have been. You know, that’s my [char­ac­ter’s] sit­u­a­tion, so I think that helped. For the last one, we did that in a dif­fer­ent room. And I sit down and go, “Oh, this is a nice new room, isn’t it?” It was big­ger, and it was warmer, and I could re­ally re­lax get­ting into it – ba­si­cally do­ing my con­fes­sion.

What about the guitar scene? Did you prompt that, or was it in there from the be­gin­ning?

I don’t know that it was there from the be­gin­ning, but Sam shot me an email say­ing, ‘Can you play guitar?’ I said, ‘Well, I’m not re­ally a great guitar player. I can play drums.’ And he was like, ‘Hmm. I don’t know it’s go­ing to work so well in the po­lice sta­tion if you get out your drums and start singing.’ I said, ‘Well, I can play a guitar, so what did you have in mind?’ And he sent me the mur­der bal­lad. He changed the words; I changed the chords. We just made it work for both of us, ba­si­cally. But, once again, he didn’t even hear me play it [be­fore­hand]. I played it twice, and he was film­ing both of them.

How about your act­ing choices? Were you guided much there?

Sam guided me at the be­gin­ning, but as soon as he said “Ac­tion!” it was up to me to just go and in­ter­pret. And we’d worked to­gether be­fore, so he kind of trusted me, and knows what I do. But we were very much against the clock. We did fin­ish. Af­ter the end of the week’s film­ing, we both said, ‘OK, now we’re ready to film. That should have been our re­hearsal.’ But I sup­pose that’s also some­thing that’s quite nice, be­cause it’s a raw and fresh per­for­mance.

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