WEBVTT 00:00:00.000 --> 00:00:02.839 Welcome back to The Deep Dive. Today, we're really 00:00:02.839 --> 00:00:05.299 getting into it, focusing on Jeremy Strong, the 00:00:05.299 --> 00:00:08.839 actor most people know now as Kendall Roy from 00:00:08.839 --> 00:00:10.919 Succession. Yeah, but we're trying to go past 00:00:10.919 --> 00:00:13.080 just the headlines, you know, the ones about 00:00:13.080 --> 00:00:15.859 how intense he is. We've got sources detailing 00:00:15.859 --> 00:00:19.160 his life, his actual career path, and this, well, 00:00:19.260 --> 00:00:21.820 this philosophy he has about acting. It's pretty 00:00:21.820 --> 00:00:23.960 demanding stuff. Right, and that's our mission 00:00:23.960 --> 00:00:27.780 here. To unpack what this extremity, as it's 00:00:27.780 --> 00:00:30.019 called, really means in his work. And you got 00:00:30.019 --> 00:00:32.579 to ask, how does one person use such an intense 00:00:32.579 --> 00:00:35.619 approach to play characters that are so wildly 00:00:35.619 --> 00:00:38.539 different? Exactly. You've got Roy Cohn, this 00:00:38.539 --> 00:00:40.960 ruthless political fixer. Right. And then Dr. 00:00:41.100 --> 00:00:43.119 Stockman on Broadway, who's all principle and 00:00:43.119 --> 00:00:44.560 conscious. Totally different. And then Kendall 00:00:44.560 --> 00:00:48.479 Roy, who's just this bundle of ambition and fragility. 00:00:48.640 --> 00:00:51.780 How does one method produce all that? And importantly, 00:00:51.979 --> 00:00:54.829 what do the sources say about like. The cost 00:00:54.829 --> 00:00:56.289 of doing it that way. Yeah, what's the price? 00:00:56.490 --> 00:00:58.750 It's definitely intense. But, you know, looking 00:00:58.750 --> 00:01:00.590 back at his early life, it doesn't seem like 00:01:00.590 --> 00:01:04.090 something he just picked up recently. It feels 00:01:04.090 --> 00:01:08.709 more ingrained. Yeah. Maybe coming from some 00:01:08.709 --> 00:01:10.689 early feelings of tension wanting to escape. 00:01:11.310 --> 00:01:13.590 Let's start right there then. Born Christmas 00:01:13.590 --> 00:01:18.459 Day 1978 in Boston. describes his family as working 00:01:18.459 --> 00:01:21.159 class. His mom was a nurse. His dad worked in 00:01:21.159 --> 00:01:24.140 juvenile jails. He mentioned growing up in Jamaica 00:01:24.140 --> 00:01:26.700 Plain, calling it a rough neighborhood, somewhere 00:01:26.700 --> 00:01:29.400 he really felt he needed to, quote, get out of. 00:01:29.480 --> 00:01:31.519 But then the setting changes, right? And this 00:01:31.519 --> 00:01:33.299 is where you see that tension starting to build. 00:01:33.540 --> 00:01:37.299 The family moves to Sudbury, a suburb. Oh, okay. 00:01:37.359 --> 00:01:39.670 And he calls it a... Country club town where 00:01:39.670 --> 00:01:42.329 we didn't belong. That feeling, being the outsider 00:01:42.329 --> 00:01:45.450 looking in, it seems really significant. It kind 00:01:45.450 --> 00:01:46.790 of makes sense, though. If you feel like you 00:01:46.790 --> 00:01:49.250 don't belong anywhere specific, maybe the only 00:01:49.250 --> 00:01:52.090 place you can truly belong is inside a character 00:01:52.090 --> 00:01:54.250 you built from scratch. It's almost like an early 00:01:54.250 --> 00:01:56.709 version of this identity diffusion idea we'll 00:01:56.709 --> 00:01:59.629 get to. There's this one detail. It really paints 00:01:59.629 --> 00:02:02.560 a picture. They couldn't afford real trips, apparently, 00:02:02.819 --> 00:02:05.760 so his parents put a canoe on cinder blocks in 00:02:05.760 --> 00:02:08.120 the backyard. Oh, wow. Yeah, and he and his brothers 00:02:08.120 --> 00:02:09.960 would just sit in it, pretending to go places. 00:02:10.360 --> 00:02:14.159 That image, wanting to get out. And that desire, 00:02:14.319 --> 00:02:17.340 that need to go elsewhere, it seems like it channeled 00:02:17.340 --> 00:02:20.340 directly into idolizing actors known for total 00:02:20.340 --> 00:02:23.060 immersion. You know, the big ones. Daniel Day 00:02:23.060 --> 00:02:25.800 -Lewis, Al Pacino, Dustin Hoffman. He wasn't 00:02:25.800 --> 00:02:27.479 just a fan, though. It sounds like he studied 00:02:27.479 --> 00:02:29.569 their careers almost like... Like road maps. 00:02:29.870 --> 00:02:31.969 Exactly. So when he gets this scholarship to 00:02:31.969 --> 00:02:34.490 Yale, and it was a DreamWorks scholarship, which 00:02:34.490 --> 00:02:36.569 he got after working sound on Amistad, you'd 00:02:36.569 --> 00:02:38.490 think, okay, drama major, right? Makes sense. 00:02:38.629 --> 00:02:42.349 But no. He immediately switched to English. The 00:02:42.349 --> 00:02:44.430 reason, he said the professor's way of talking 00:02:44.430 --> 00:02:46.650 about Stanislavski, all academic and formal, 00:02:46.810 --> 00:02:49.810 didn't connect to them. It felt alienating. So 00:02:49.810 --> 00:02:52.169 he rejected the theory class, but not the actual 00:02:52.169 --> 00:02:55.289 doing of it. Precisely. He just kept acting in 00:02:55.289 --> 00:02:58.539 student plays run by the Yale drama. And get 00:02:58.539 --> 00:03:00.780 this, the roles he picked, all Pacino roles. 00:03:00.939 --> 00:03:04.240 He was basically creating his own very specific 00:03:04.240 --> 00:03:07.680 practical curriculum. And the dedication was, 00:03:07.800 --> 00:03:10.979 well, intense even then. He somehow arranged 00:03:10.979 --> 00:03:14.199 for Al Pacino himself to visit Yale. No way. 00:03:14.379 --> 00:03:18.259 Yeah, but he budgeted it so laddishly that it 00:03:18.259 --> 00:03:20.919 apparently nearly bankrupted the student drama 00:03:20.919 --> 00:03:23.639 group. Wait, seriously, he bankrupted the drama. 00:03:24.189 --> 00:03:26.030 Just to hang out with Pacino for an evening. 00:03:26.150 --> 00:03:28.650 Seems like it. OK, that's commitment. And maybe, 00:03:28.669 --> 00:03:30.430 you know, an early sign of someone who puts the 00:03:30.430 --> 00:03:34.009 artistic vision way above practical stuff. The 00:03:34.009 --> 00:03:36.909 stakes were clearly super high for him even back 00:03:36.909 --> 00:03:38.930 then. And that kind of sets the tone for what 00:03:38.930 --> 00:03:40.810 happened after Yale. He moved to New York in 00:03:40.810 --> 00:03:43.550 2001, spent a year staying at headshots nobody 00:03:43.550 --> 00:03:46.389 asked for, living in what he called gilded squalor. 00:03:46.699 --> 00:03:48.800 Basically, a tiny place above a restaurant where 00:03:48.800 --> 00:03:51.080 he also waited tables. Just relentless. He even 00:03:51.080 --> 00:03:52.919 tried leveraging an old connection, Chris Evans, 00:03:53.120 --> 00:03:54.800 who he knew from high school and who was starting 00:03:54.800 --> 00:03:57.319 to get famous. Oh, right. Captain America. Yeah. 00:03:57.580 --> 00:03:59.960 Tried to get Evans' agent to take him on. And 00:03:59.960 --> 00:04:02.639 the agent just passed. Said no. So the front 00:04:02.639 --> 00:04:05.000 door was pretty firmly shut. So what does he 00:04:05.000 --> 00:04:07.139 do? He goes around to the back, tries to learn 00:04:07.139 --> 00:04:09.340 directly from the people he admires most. He 00:04:09.340 --> 00:04:12.860 made it his mission to just get near them. Which 00:04:12.860 --> 00:04:15.000 leads to the Daniel Day -Lewis connection. Yeah. 00:04:15.280 --> 00:04:18.560 In 2003, he ends up working as Day -Lewis' personal 00:04:18.560 --> 00:04:21.160 assistant on the set of The Ballad of Jack and 00:04:21.160 --> 00:04:23.500 Rose. And it wasn't a glamorous gig, apparently. 00:04:23.800 --> 00:04:27.139 Not at all. He was reportedly so focused on just 00:04:27.139 --> 00:04:29.959 doing whatever DDL needed, even really menial 00:04:29.959 --> 00:04:32.800 tasks, that the crew started calling him Cletus. 00:04:33.000 --> 00:04:35.540 Like from The Simpsons? Yeah, that Cletus. But, 00:04:35.660 --> 00:04:38.300 you know, the dedication paid off in a way. At 00:04:38.300 --> 00:04:40.399 the end of the shoot... Day -Lewis gave him this 00:04:40.399 --> 00:04:43.699 private note. Supposedly, it contained his deepest, 00:04:43.899 --> 00:04:46.540 quote, precepts and beliefs about this work. 00:04:46.680 --> 00:04:49.860 Wow. And Strong still has it, keeps it totally 00:04:49.860 --> 00:04:53.000 secret. Out of respect, he says. That really 00:04:53.000 --> 00:04:54.920 highlights how seriously he takes this, almost 00:04:54.920 --> 00:04:57.040 like it's a sacred calling, not just a job. It's 00:04:57.040 --> 00:04:59.899 about initiation. And you see that same obsessive 00:04:59.899 --> 00:05:01.759 focus later when he worked for the playwright 00:05:01.759 --> 00:05:04.620 Wendy Wasserstein, just as a typist. Oh, yeah. 00:05:04.680 --> 00:05:07.300 That story's great. Wasserstein almost wrote 00:05:07.300 --> 00:05:09.689 a play about him. Because of how he prepared 00:05:09.689 --> 00:05:12.250 for a tiny role. He was playing an Irish doorman 00:05:12.250 --> 00:05:16.490 off Broadway. Okay. And he apparently spent ages 00:05:16.490 --> 00:05:19.209 just watching the real doorman at the building 00:05:19.209 --> 00:05:21.529 way more time than you think the part needed. 00:05:21.629 --> 00:05:24.029 The prep always seems bigger than the role itself. 00:05:24.329 --> 00:05:26.509 And that became his signature, right? That deep 00:05:26.509 --> 00:05:28.730 dive preparation for his early stage work. Like 00:05:28.730 --> 00:05:31.209 for Defiance in 2005, he actually went through 00:05:31.209 --> 00:05:33.709 marine weapons training at Camp Lejeune. For 00:05:33.709 --> 00:05:36.310 a play. For a play. Then a couple of years later, 00:05:36.410 --> 00:05:39.389 for New Jerusalem, playing Spinoza, he immersed 00:05:39.389 --> 00:05:42.389 himself in 17th century Dutch philosophy. He 00:05:42.389 --> 00:05:46.050 was building this method, this intensity, long 00:05:46.050 --> 00:05:48.410 before Hollywood really noticed. And eventually 00:05:48.410 --> 00:05:50.930 that groundwork led to getting noticed. Small 00:05:50.930 --> 00:05:53.230 parts, but in big films. He played Lincoln's 00:05:53.230 --> 00:05:55.410 secretary, John Nicolay, opposite Day -Lewis 00:05:55.410 --> 00:05:57.290 and Lincoln. Working with a mentor again. Yeah. 00:05:57.350 --> 00:05:59.949 And a CIA analyst in Zero Dark Thirty. Good, 00:05:59.990 --> 00:06:02.449 solid roles. But the real game changer was meeting 00:06:02.449 --> 00:06:05.589 Adam McKay, right? First for the big short. Exactly. 00:06:05.709 --> 00:06:08.050 And that led straight to the offer for Succession. 00:06:08.490 --> 00:06:10.970 Interestingly, he first had his eye on playing 00:06:10.970 --> 00:06:14.350 Roman Roy. Really? Huh. Yeah. But he auditioned 00:06:14.350 --> 00:06:17.870 for Kendall, got the part, and, well, the rest 00:06:17.870 --> 00:06:21.410 is history. Emmy, Golden Globe, huge acclaim. 00:06:21.509 --> 00:06:23.730 And his prep for that audition, it perfectly 00:06:23.730 --> 00:06:26.009 sums up his whole approach, doesn't it? Totally. 00:06:26.250 --> 00:06:28.740 Reading a Rupert Murdoch biography. He finds 00:06:28.740 --> 00:06:32.060 this detail about Murdoch's son, James, apparently 00:06:32.060 --> 00:06:35.279 lacing his shoes really tightly. Okay. So Strong 00:06:35.279 --> 00:06:37.259 does the exact same thing for his Kendall audition. 00:06:37.439 --> 00:06:40.199 Just laced his own shoes super tight. He felt 00:06:40.199 --> 00:06:43.240 it conveyed Kendall's... inner tensile strength. 00:06:43.480 --> 00:06:46.180 It's finding that small physical thing to unlock 00:06:46.180 --> 00:06:48.660 something huge and internal. It's kind of brilliant, 00:06:48.800 --> 00:06:50.819 actually. And that focus, maybe that's what lets 00:06:50.819 --> 00:06:52.560 him have the range we're seeing now. I think 00:06:52.560 --> 00:06:54.319 so. I mean, look at just the last couple of years. 00:06:54.620 --> 00:06:57.899 2024, he wins the Tony for Best Actor in An Enemy 00:06:57.899 --> 00:07:00.699 of the People, playing Dr. Stockman, you know, 00:07:00.720 --> 00:07:02.500 the moral center, the guy trying to do the right 00:07:02.500 --> 00:07:04.819 thing against the system. The classic hero, basically. 00:07:05.180 --> 00:07:09.040 Right. And then, like, a complete 180. He plays 00:07:09.040 --> 00:07:12.300 Roy Cohn in The Apprentice. Ruthless, ambitious 00:07:12.300 --> 00:07:15.620 mentor to Trump. Talk about range. And he got 00:07:15.620 --> 00:07:18.620 nominated for everything, for that Oscar, BAFTA, 00:07:18.680 --> 00:07:21.860 SAG, Golden Globe. Critics really pointed out 00:07:21.860 --> 00:07:24.480 how he found, quote, notes of pathos in Cohen's 00:07:24.480 --> 00:07:28.060 decline. So. Complexity even in the villains. 00:07:28.279 --> 00:07:31.120 And she's not stopping. He's got big roles lined 00:07:31.120 --> 00:07:33.600 up playing John Landau, Springsteen's producer, 00:07:33.800 --> 00:07:36.040 in that biopic. Deliver Me From Nowhere. Right. 00:07:36.120 --> 00:07:38.360 And Mark Zuckerberg in the Social Network sequel, 00:07:38.600 --> 00:07:41.319 The Social Reckoning. The range is just undeniable. 00:07:41.439 --> 00:07:44.339 But the constant seems to be that intense personal 00:07:44.339 --> 00:07:46.980 commitment he brings. Which leads us to the philosophy 00:07:46.980 --> 00:07:49.060 itself. He's very specific about not calling 00:07:49.060 --> 00:07:51.930 it method acting. He uses the term identity diffusion. 00:07:52.310 --> 00:07:54.269 Yeah, and that distinction seems really important 00:07:54.269 --> 00:07:56.569 to him. He pushes back against the traditional 00:07:56.569 --> 00:07:59.769 idea of method acting, which often involves using 00:07:59.769 --> 00:08:01.889 your own life, your own memories or traumas. 00:08:01.910 --> 00:08:04.290 Right, dredging up the past. Strong says he specifically 00:08:04.290 --> 00:08:06.790 does not do that. He doesn't pull from his own 00:08:06.790 --> 00:08:10.730 experience. Okay, so diffusion. What does that 00:08:10.730 --> 00:08:14.149 actually mean in practice then? If it's not Stanislavski, 00:08:14.209 --> 00:08:16.990 not traditional method, how is it different from 00:08:16.990 --> 00:08:19.910 just, you know, really intense preparation? The 00:08:19.910 --> 00:08:21.709 key seems to be the source of the character. 00:08:21.949 --> 00:08:24.449 He says his goal is, and this is a direct quote, 00:08:24.670 --> 00:08:27.930 to clear away anything, anything that is not 00:08:27.930 --> 00:08:29.790 the character and the circumstances of the scene. 00:08:29.910 --> 00:08:32.350 He wants to become a complete vessel for the 00:08:32.350 --> 00:08:34.690 work at hand. So it's less about putting himself 00:08:34.690 --> 00:08:37.009 into the role and more about erasing himself 00:08:37.009 --> 00:08:39.629 so the role can fill the space. It's about surrender, 00:08:39.870 --> 00:08:42.299 essentially. He actually used a quote from Keith 00:08:42.299 --> 00:08:44.360 Jarrett, the jazz pianist, to explain it. Something 00:08:44.360 --> 00:08:46.480 about connecting to a great power and making 00:08:46.480 --> 00:08:48.980 music. Yeah, and if I do not surrender to it, 00:08:49.000 --> 00:08:51.639 nothing happens. It makes the performance sound 00:08:51.639 --> 00:08:54.879 almost involuntary, like something that happens 00:08:54.879 --> 00:08:57.320 to him requiring sacrifice. And that sacrifice, 00:08:57.399 --> 00:08:59.899 that surrender, often seems to involve actual 00:08:59.899 --> 00:09:02.700 physical pain. He talks about the ordeal. Right. 00:09:02.740 --> 00:09:05.240 He believes, quote, you have to go through whatever 00:09:05.240 --> 00:09:07.639 the ordeal is that the character has to go through. 00:09:07.950 --> 00:09:10.190 And we have concrete examples where this caused 00:09:10.190 --> 00:09:12.950 real injuries. Like the succession episode where 00:09:12.950 --> 00:09:14.889 Kendall runs to the board meeting. Whose side 00:09:14.889 --> 00:09:17.970 are you on? Exactly. Limo gets stuck. Kendall 00:09:17.970 --> 00:09:20.809 has to run. Strong insisted on actually running 00:09:20.809 --> 00:09:24.190 full tilt in fancy Tom Ford dress shoes just 00:09:24.190 --> 00:09:26.470 so he'd be genuinely sweating and out of breath 00:09:26.470 --> 00:09:28.850 on camera. And he broke his foot doing it. Fractured 00:09:28.850 --> 00:09:31.250 his foot. And then a couple seasons later, for 00:09:31.250 --> 00:09:34.509 the Too Much Birthday episode, he jumped off 00:09:34.509 --> 00:09:38.419 a five -foot platform in Gucci shoes. Just jumped. 00:09:39.080 --> 00:09:41.120 Apparently trying to get a specific physical 00:09:41.120 --> 00:09:43.279 reaction, he ended up injuring his tibia and 00:09:43.279 --> 00:09:45.580 femur, needed a leg braid. And the take wasn't 00:09:45.580 --> 00:09:47.700 even used. Nope, that take didn't even make the 00:09:47.700 --> 00:09:52.279 final cut. Wow. That almost sounds counterproductive. 00:09:52.279 --> 00:09:55.259 Is that normal? Do other actors feel that level 00:09:55.259 --> 00:09:58.440 of physical risk is necessary? Or is this uniquely 00:09:58.440 --> 00:10:01.700 a strong thing? Well, that definitely gets into 00:10:01.700 --> 00:10:04.500 the friction his approach can cause on set. People 00:10:04.500 --> 00:10:06.730 respect the results for sure. But the process 00:10:06.730 --> 00:10:09.450 itself, it generates some different perspectives 00:10:09.450 --> 00:10:11.529 from coworkers. Yeah, let's talk about that because 00:10:11.529 --> 00:10:13.590 that's the real tension here, isn't it? The result 00:10:13.590 --> 00:10:16.149 might be amazing, but what's it like actually 00:10:16.149 --> 00:10:18.549 working with that level of commitment day to 00:10:18.549 --> 00:10:22.429 day? Kieran Culkin, Roman Roy, he describes Strong 00:10:22.429 --> 00:10:25.110 as being in a bubble a lot of the time before 00:10:25.110 --> 00:10:28.769 scenes. Just totally zoned in. Matthew McFadian, 00:10:28.889 --> 00:10:32.110 who played Tom. was maybe a bit more direct. 00:10:32.289 --> 00:10:34.470 He called the techniques not the main event and 00:10:34.470 --> 00:10:37.049 said that's just not useful, basically implying 00:10:37.049 --> 00:10:39.409 it was maybe distracting or just not necessary 00:10:39.409 --> 00:10:43.029 for his process. And Brian Cox, Logan Roy himself. 00:10:43.509 --> 00:10:46.590 Cox expressed what sounds like genuine concern. 00:10:46.929 --> 00:10:49.490 He worried that the intensity could lead to strong 00:10:49.490 --> 00:10:52.269 burning out early. Like protective almost. Yeah. 00:10:52.350 --> 00:10:55.250 But importantly, Cox always added that the performance 00:10:55.250 --> 00:10:58.009 itself is always extraordinary and excellent. 00:10:58.169 --> 00:11:00.269 So it's like... Acknowledging the brilliance, 00:11:00.350 --> 00:11:03.029 but worrying about the method. It's respect mixed 00:11:03.029 --> 00:11:05.690 with concern for the human cost. Seems that way. 00:11:05.830 --> 00:11:09.129 But what also seems consistent is Strong's own 00:11:09.129 --> 00:11:12.409 stated purpose behind it all. He tends to pick 00:11:12.409 --> 00:11:15.110 projects based on real events, stories about 00:11:15.110 --> 00:11:18.009 social justice. He said he never wanted anything 00:11:18.009 --> 00:11:19.950 more than to be part of telling stories that 00:11:19.950 --> 00:11:22.460 feel meaningful. So the extremity isn't just 00:11:22.460 --> 00:11:25.500 for show or for himself. It's maybe driven by 00:11:25.500 --> 00:11:28.139 a feeling that the subject matter demands that 00:11:28.139 --> 00:11:30.600 level of sacrifice. That seems to be the idea 00:11:30.600 --> 00:11:32.779 he puts forward, that the weight of the story 00:11:32.779 --> 00:11:36.759 requires total commitment. So, OK, we've traced 00:11:36.759 --> 00:11:40.159 this arc. Incredible success, undeniably powerful 00:11:40.159 --> 00:11:43.360 performances, all fueled by this philosophy of 00:11:43.360 --> 00:11:46.019 extremity, a word he uses because he actually 00:11:46.019 --> 00:11:49.549 said he doesn't even believe in. Right. He rejects 00:11:49.549 --> 00:11:53.090 balance in the work. And yet you have to contrast 00:11:53.090 --> 00:11:55.250 that with his personal life. He's married to 00:11:55.250 --> 00:11:57.750 Emma Wall, a Danish psychiatrist he met back 00:11:57.750 --> 00:11:59.470 in 2012. They have three daughters. And they 00:11:59.470 --> 00:12:01.529 split their time between New York and Copenhagen, 00:12:01.549 --> 00:12:03.929 right? Yeah. And his wife actually provides a 00:12:03.929 --> 00:12:05.590 really interesting counterpoint. She's quoted 00:12:05.590 --> 00:12:07.409 saying he does a really good job of maintaining 00:12:07.409 --> 00:12:09.750 what he's doing, but also creating a space for 00:12:09.750 --> 00:12:12.549 the family in a normal life. So she sees balance, 00:12:12.629 --> 00:12:15.269 even if his work philosophy seems to reject it. 00:12:15.580 --> 00:12:17.480 That's the puzzle, isn't it? His whole artistic 00:12:17.480 --> 00:12:20.500 approach, this identity diffusion, seems to demand 00:12:20.500 --> 00:12:24.740 erasing the self to become this vessel. But his 00:12:24.740 --> 00:12:26.940 family life requires him to be present, to be 00:12:26.940 --> 00:12:30.200 himself. His wife sees him managing both. Which 00:12:30.200 --> 00:12:31.899 leaves us with a pretty provocative thought, 00:12:31.980 --> 00:12:34.500 really. If he truly commits to the ordeal, if 00:12:34.500 --> 00:12:36.960 he's constantly diffusing his own identity to 00:12:36.960 --> 00:12:40.019 become these incredibly complex, often dark characters 00:12:40.019 --> 00:12:43.480 like Kendall or Roy Cohn. What happens to the 00:12:43.480 --> 00:12:46.159 vessel itself when the role is over? How much 00:12:46.159 --> 00:12:48.279 of the self remains when you've spent so long 00:12:48.279 --> 00:12:50.340 clearing it away? It makes you think about that 00:12:50.340 --> 00:12:52.799 term identity diffusion versus method acting, 00:12:52.919 --> 00:12:55.059 maybe in a new way when you watch him. The dedication 00:12:55.059 --> 00:12:57.919 is obvious. The sacrifice seems real. But what 00:12:57.919 --> 00:13:01.080 that sacrifice ultimately entails? Well, maybe 00:13:01.080 --> 00:13:02.080 that story is still unfolding.