Several years ago, Gary Oldman was talking to his manager, Douglas Urbanski, when he made a modest request. He wanted, he told Urbanski, to do a project — a TV series, maybe — where he could play a well-written character over a more extensive arc than you’d get in a two-hour movie. He’d rather not have to do an accent or wear cumbersome costumes — in fact, he’d prefer it if there weren’t too many costume changes at all. He didn’t want a role that required the kind of prosthetics and extensive makeup work that helped win him an Oscar for “Darkest Hour.” Oh, and it’d be great if it was set in the world of espionage.
A while after he gave Urbanski that wishlist, the two men were on a plane together. Urbanski was perusing a script. “What are you reading?” Oldman asked him.
“I’m reading a character who’s about to become your new best friend,” Urbanski said. “I won’t say anything more than that.”
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