Andrew Garfield, the acclaimed actor known for his transformative performances, finds himself navigating an extraordinary situation in his latest film, “We Live in Time.” The nonlinear romantic dramedy presents a chaotic yet tender childbirth sequence, aptly reflecting the unpredictability of life. In a recent interview with The New York Times, Garfield opened up about the whimsical complexity of shooting this scene, which involved a newborn with the all-too-familiar unpredictability of babies—specifically, a well-timed poop on Garfield’s hand.
This enthusiasm for capturing life in its rawest form echoes throughout the film. The narrative follows the journey of Tobias, played by Garfield, and Almut, portrayed by Florence Pugh, as they wade through their relationship against a backdrop of life’s many tribulations. The chaotic nature of their romance is mirrored in the frantic atmosphere of the gas station bathroom scene, where the birth unfolds—an ambitious endeavor that sought to capture the comedic yet precarious facets of parenthood.
Describing the atmosphere during filming, Garfield likened the experience to an action sequence in an Indiana Jones movie, a testament to the high stakes involved in portraying such a visceral moment. “It’s the big action event,” he asserted. By aligning childbirth with high-octane drama, the filmmakers purposefully amplify the emotional stakes inherent in the narrative. This level of intensity deepens the audience’s connection to the characters’ struggles, as their personal milestones take place under significant duress—much like life itself.
Director John Crowley meticulously constructed the environment on a soundstage, replicating the cramped quarters of a petrol station bathroom to relate to the anxiousness surrounding childbirth. This space became a microcosm of life’s unpredictability, elevated by two comedic characters played by Nikhil Parmar and Kerry Godliman, who add a layer of light-heartedness amid the tension.
The candidness of filming with a newborn serves as a metaphorical reflection of life’s messy nature. Garfield’s perspective on the situation reveals his appreciation for the unpredictability that comes with new beginnings. His remarked, “Honestly, those moments were the most beautiful because you’re just like, ‘Oh God, this is life, what a privilege,’” encapsulates the ordinary yet extraordinary elements that define both parenthood and performance.
In preparation for the scene, Garfield opted not to overthink his approach, intending to absorb his character’s feelings of panic and vulnerability authentically. This decision resonates with the film’s central thesis—accepting the chaotic moments provides a deeper appreciation for one’s journey. Performing alongside Pugh, he humorously notes that much of his acting hinged on interacting with her backside, a fitting comment on the absurdity of the scene and life itself.
In “We Live in Time,” Andrew Garfield and Florence Pugh navigate the chaos of love, life, and unexpected circumstances. Capturing the frantic yet beautiful moments of childbirth amid unforeseen challenges encapsulates not just the film’s narrative but the essence of existence. As actors strive to mirror the complexity of life’s experiences, they remind us that amidst the turmoil—poop jokes included—there is profound beauty to be found in the chaos.