Tobias Lindholm: Director of “The Good Nurse,” Discusses Why He Prefers to Write About Heroes Instead of Serial Killers!

Editor-in-Chief of  Tyler Treese spoke with Tobias Lindholm, the film’s director, about the upcoming crime drama, “The Good Nurse,” which is based on Charles Graeber’s true-crime novel. The movie is currently playing in a few theatres and will be available for viewing on Netflix on October 26.

According to the movie’s summary, “Nurse Amy Loughren is startled when one of her coworkers, Charlie Cullen, is found accountable for the death of hundreds of patients over the course of sixteen years, across two states and nine hospitals, without being charged.”

Mr. Tyler Treese The spectator can have two different experiences depending on whether or not they are familiar with the real-life story, which is one aspect of the movie that I found interesting. Either way, it’s interesting because you learn about the causes of these fatalities and the shortcomings of the healthcare system, or you find the events shocking. What presented the greatest difficulty in adapting this true story?

Justin Lindholm:

The hardest issue, in my opinion, was resisting the temptation to simply make references to other serial killer movies. There is a tonne of excellent ones available. One of David Fincher’s most beloved movies is Se7en. Anthony Hopkins did a fantastic job portraying Hannibal Lecter, as we have all seen. There is a current fad for genuine crime stories.

For us to penetrate the darkness of these true crime stories as storytellers, I believe we must discover a human reason to do so—a light inside. The hope and humanity that Amy brought to the table were that light for me. The hardest thing was to simply trust that was enough. that relaying the tale as it happened to Amy would be sufficient and that we didn’t need the cheap thrills. That was the source of my greatest concern and difficulty.

It’s fascinating how many people are interested in serial killers, therefore it’s intriguing that Amy is in the spotlight. You did a terrific job of highlighting Jessica Chastain‘s drive, and she gives a very outstanding performance. Despite all that she is going through, her family gives her strength. How crucial was it to present the image of a loving mother in real life?

Amy made me think of my mum when I first read about her. My older brother is about two years older than I am. Without our dad, our mom would still give us a wonderful life and fantastic possibilities because she worked in Denmark’s healthcare system. She would fight so hard. I was extremely moved by the power of those unheralded heroes. I adored that Charlie was Amy’s buddy when she truly needed one and that the motivation for this was just that.

The real Amy will confirm that the friendship was genuine. In the end, she utilized that friendship to stop him. I think the reasoning behind that is incredibly human. That was the main thing I needed to pay attention to. Therefore, being open about the difficulties she faces would enable her to meet her requirements and further demonstrate her strength.

Eddie’s portrayal of the role is particularly affecting, in my opinion, because he is a close friend. He has his moments of charm. The story you give is really detailed, but the frightening aspect is that he is also this insane individual. He might be anywhere or even not exist at all.

The terrifying part is that. I also believe that’s a way in for me since I’m not American and don’t know much about the American healthcare system, but I do understand what it’s like to be a human in a system, and we see this all around us. I guess it’s just a reminder to speak up if we see or feel that the system is working against us, as it is our duty as human beings to do.

We had practiced every scene in the screenplay aside from that one, though. We staked everything we had on the theory that this would make sense if the other scenarios were accurate. As a result, neither he nor I were completely honest about what we were thinking. So when he showed up on the day, I would, without him knowing or preparing for it, I would handcuff him to the table, which would limit his movement. It produced a sound when it did so, a click!

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As we began the day’s rehearsals for that, I can still hear the sound. I saw in Eddie’s eyes right away, “Oh, there’s an idea.” So when he finally started to use that at the end of the scene and the “I can’t” rhythm that he grows into, you know, I was very impressed with that.

To be honest, after the second take, I got worried [about] whether he was okay or not, because he seemed so much in it. So I went in there and then he must have sensed that I felt that way because Eddie looked up and he looked me in the eyes, smiled, and said, “I’m all right, pal.” Then he looked down again and went back into the darkness. That was one of the strongest experiences I’ve had on set.