We both believed it was a workplace story, and [director] Jason [Hehir] and I shared a general disinterest of the wives and children of the lead characters.
We had a checklist: gambling, conspiracy theory about retirement, his father’s death, his lack of activism and his teammates.
From the start, we asked ourselves, ‘Is this a workplace drama or is it a domestic one?’
Michael never said you can’t talk to either of his wives.