Despite being locked down, you got to do some great location work.

There were so many really great places that we visited not only in Northern Ireland but also in England. The old cathedral that we shot in was my favorite. It’s massively beautiful, the architecture—it’s pretty extraordinary just to be walking through there and watching a Dragonborn [enter the scene]. The Dragonborn are made by the Legacy Effects, who developed all the practical effects. We weren’t staring at a blue screen, and that really made a difference for me in the performance. 

Can you tell us a little bit about your fight scenes and stunt work?

The biggest one was the Holga fight, which you see a little bit of in the trailer. I worked with the team for a month, just developing and fine tuning the sequence. They did a wonderful job, training five people to do their sequences, and shooting at the same time.

How was it working with the horses?

The number one horse guy on the set was Chris [Pine]. He’s a true cowboy. He’s way more comfortable on a horse than I am! I’d rather clean up the horses, pet them, feed them, and love them than ride them. [As far as Holga, the filmmakers] really wanted to ride on the courageousness that the barbarian has, and her accuracy with fighting has a lot to do with horsemanship as well. We wanted her to look like she knows what she’s doing. But if you ever flip the camera to the off-screen stuff, you’ll see me fumbling a lot. And then there’s Chris, smiling and hopping onto his horse with one arm.


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