Award-winning actor Jeffrey Wright dishes on what it’s like joining The Last of Us Season 2 in a roundtable interview with Lifestyle Asia.
Of the entire cast of The Last of Us Season 2, Jeffrey Wright is the only one reprising his role from the game. Isaac, who Wright voiced for The Last of Us Part II, is the enigmatic leader of the organisation known as WLF. Isaac’s story, much like in the game, is slowly unfolding with each new episode, with Jeffrey Wright yet again giving a masterclass performance. Lifestyle Asia got the chance to join a roundtable interview with the American actor who talked about what it was like to join Season 2 and how we have his son to thank for convincing him to hop onboard playing Isaac in the game.
[Hero image: Warner Bros. Discovery/Max]
Jeffrey Wright on The Last of Us Season 2
You’ve got a pretty complex role. How did you interpret the character? Did you draw inspiration from any real-life figures?
It was really all based on what I’d done in the game. That gave us something to reference and expand upon. In the game, Isaac is a bit of a mystery; he only appears in a couple of scenes. What we were able to do with the show was revisit him and give more depth, show a little more of his history. I’m hoping fans appreciate that. It was entirely rooted in the game.
Can you give us a hint about how the show explores him in Season 2? Do we get to see a justification for his ruthless behaviour?
We might. It remains to be seen. I’ll let you be the judge of that. But yes, we do go beyond what’s in the game. Just wait and see.
In Basquiat and Westworld, you played characters who struggle with inner conflicts between their ideals and brutal realities. Did those experiences shape how you approached Isaac?
There’s a bit of overlap, especially with Bernard from Westworld. Halley Gross, a writer on Westworld, also wrote on game and is now a writer on the show. Shannon Woodward acted in Westworld and is in the game, too. They were part of the reason I got involved.
When I met Neil Druckmann [co-creator and writer of the show and game], he was a fan of Westworld and asked me to consider joining the game. I ran it by my son, and he lost his mind. He was so excited! That’s really why I did the game.
So if there’s any influence from Westworld, it’s from the outside in. Psychologically, I’m not sure how much overlap there is. The common thread is probably just me, but beyond that, I’m not certain.
Do you have any special memories related to the game and your son?
We played a bit together, but the most special memory was just seeing how excited he was about me being in the game. I choose roles for different reasons. Story is a big one. But when my kids were younger, I sometimes picked jobs based on how long I’d be away from home. I wouldn’t take something that would pull me away for six months.
In this case, I did the game partly because my son was a fan. Sometimes those decisions work out beautifully, sometimes unexpectedly. For example, when my kids were very young, I did a voice for the Pixar film The Good Dinosaur. I played Papa. Before the movie’s release, we went to a screening together, and I realised I’d forgotten to tell them that Papa dies. My son was about nine, my daughter six. They were so distraught! So yeah, sometimes it backfires. But mostly, those choices turn out well.
What do you hope viewers take away from Season 2?
I can only speak for what I contributed, but I know fans have huge expectations for this show. That passion is really special. My hope is always that those expectations are met or even exceeded. Even though fans know the game so well, there’s a need to stay ahead of them, to build on the narrative in ways that are both faithful and surprising. I hope the show delivers that experience.
Whether it’s Bernard or Commissioner Gordon, and now Isaac, I love your voice and the way you deliver lines. When you get the script, how do you determine the tone or cadence? Or does it just come naturally?
I try to use everything available to shape a character. The voice is one of many tools, like costume, posture, and the script itself. I don’t try to impose a tone. I respond to what’s on the page, the style of filmmaking, and the nature of the character.
The voice is like an instrument, and the script is like sheet music. I don’t play the notes just for the sake of it, but I do consider rhythm, tone, and intent. In real life, we change pitch or pace depending on whether we’re excited, asking something, or being emphatic. I try to approach dialogue the same way a musician approaches music.
The Last of Us Season 2 drops new episodes every Monday on Max
