That episode begins with this scene of Ben alone in a taxi, talking to the driver a mile a minute, walking up to the edge of lucidity about his predicament but unable to do anything about it. I’ve read that you stuck to the script in that sequence, but your performance, it felt improvised in the best way.

That was written by Miki Johnson, and I’m sure we’ll all be hearing her name for years to come. Having finally seen what they used, I noticed that there were a few times where I was repeating lines; that must’ve been a certain take where I was just looking for a purchase.

But it was, in my opinion, some of the best writing that I had ever read. Even though on one level, objectively, you’re like, This is kind of rambling and doesn’t fully make sense, I thought that the writer did an amazing job of giving it this flawless emotional logic. Once you can find that, then it’s just a matter of, I want to show up word-perfect because I cannot make this writing better. There’s not a version of me improvising that scene that makes it better. The only thing that could happen with me improvising that scene is making it worse. She’s the writer for a reason, and she’s where she is for a reason, and so you just show up as prepared as possible.

So I spent weeks just going over and over and over the lines because that’s my job. When you know the lines that well, you do really give yourself the freedom to relax and play and let the words work through you, and you go for this ride where you’re not exactly sure what’s going to happen. I just can’t overstate this: It’s the kind of freedom and opportunity that is only possible when the writing is that good, and I really think it was that good.

I interviewed actor Tom Pelphrey about his phenomenal work as Ben in Ozark Season Three for Vulture.