DA: Tell us about the role you play—Fraser. How did you build him as character? JDG:

It was definitely a process creating Fraser. Playing him was unlike playing any other character I have ever played before. Fraser doesn’t have too many lines of dialogue, but a lot of what he expresses is silent and with his eyes. So, for those pieces, I couldn’t just “act”—I had to understand what drove him and his internality and his struggles and what he’s truly, truly feeling. This was a challenge, but a great and super fun challenge. I had no other choice but to surrender myself as Jack and become Fraser if I wanted to deliver a good performance. And I did want to deliver a good performance, so I was fully committed to building that character through and through with Luca.

Every single day that I spent on set with my lovely cast is a wonderful memory. All of my most memorable scenes were the ones that I did either alone or together with Tom Mercier, who played Jonathan. It was those scenes that were of the most emotional intensity, and it was just so much fun to play pretend with Tom and the rest of the cast, too.

A consistent piece of my process in preparing myself for any character is that I always make a playlist for them. When I’m not shooting, I’m listening to it or adding to my playlist. The music on the playlists isn’t necessarily music that I, Jack, would like, but it’s music that I know that the character likes or music from the actual soundtrack. For Fraser’s playlist I added a curated blend of music, ranging from classical to hip hop to even abstract jazz. I also would add music that I, playing Fraser not even on set, would hear out on the streets of Abano Terme listening in on the sounds of Andrea Bocelli and Mina. At the time, I was also reading a book called “The Stranger” by [French philosopher] Albert Camus which so perfectly synchronized with Fraser’s constant