Rafi is still alive. Was there any hope to get in touch with him?
Kroll: I did not speak to him, and I didn't get the chance to meet him. I got to talk to a lot of people who knew him. There was an exhibit about the Museum of Jewish Heritage about Operation Finale. I got to walk around and they had all the stuff like the plane tickets and the forging machines and all the posters for when the Eichmann trial happened. They were filming it and then bringing it to movie theaters around Israel for people to watch. I got a little more taste for it. The truth of it is when you're playing a person from real life you want to know as much as you can about them, but then at the end of the day you're then serving what this script and story is that might not be exactly who Rafi was in real life because now you're playing this guy in this movie that might be a combination of events and people.
You can do a number of different voices. Was there any talk about doing an accent?
Kroll: It was an early decision Chris made that I actually really like which was nobody's doing Israeli accents because when you watch a lot of those movies you are so focused on who is doing the accent well, who is doing it badly. And also in 1960 in Israel, there was no Israeli accent, because everyone is from different places. So in the film Torben [Liebrecht] is German, Mélanie [Laurent] is French, Ohad [Knoller] and Lior [Raz] are Israeli, and me and Oscar [Isaac] and Mike [Aronov] are American and Greg [Hill] is American. Also, Chris was like, if they were Israelis living in the U.S. speaking English then maybe they would have Israeli accents. But they are supposed to be theoretically speaking Hebrew to one another, so why would they be speaking English with Israeli accents? It doesn't make any sense. I think it freed all of us to not worry about like, is the accent good? Does it sound legitimate? I think you spend so much time when you watch those movies hearing about whether people are doing the voices that you forget about how the acting is.
Were you working on Big Mouth season two while you were filming this?
Kroll: Animation is such a long process and so many steps so we had done a lot of the lion's share of work on Big Mouth before I went down to Argentina. So I worked on Big Mouth, went to Atlanta, did Uncle Drew, and then went down to Argentina. On my days off, because there are so many stages to animatics and color screens. They would have animatic or color episode screenings in LA, they would do a rewrite, and then I would Skype with my co-creators and we would rewrite and I would re-record voices on my phone and then email them off to LA. They would get put into the rough drafts and then when I got back I would re-record them properly. I will say, the technology blew me away when I realized I would be FaceTiming in Argentina across the world recording things onto my little phone and then emailing them right off. They would insert them in. There are a couple of lines that went all the way through where at some point they were like, we should record that properly in a studio. It had been like on my couch in a hotel room in Argentina.
What was it like filming there?
Kroll: It was really wild. I weirdly spent a lot of time there. I studied abroad there in college. So I kind of knew [Buenos Aires] and the country. I got a little time to travel. I went to Patagonia and Iguazu and afterwards went to Brazil and got to ride polo horses at Nacho Figueras' ranch outside of the city. He very kindly invited me out there. It's rad. When I got the offer to be in this movie: You're going to make a movie with Sir Ben Kingsley and Oscar Isaac directed by Chris Weitz in Argentina about this event. It was kind of like, what more could you ask for? It is one of those opportunities.
Sorry, you rode polo horses?
Kroll: I rode polo horses, and then I had a crazy allergic reaction to the horses. In case, I, for a minute, forgot I was Jewish my genetics kicked in and I broke out in hives.