Ben Whishaw's performance of Brutus in this scene shows him being in a trance of contemplation. In his performance as Brutus he only looks away from the book he is reading twice, once when he tells Cassius to not mistake his absent mindedness for neglect. Brutus confirms that he is in conflict by using the metaphor that he is "with himself at war." Brutus looks away from the his book once again as if to share Cassius his conflicted opinions, this can be seen when he slides Cassius a seat and a drink as if to join him.

The purpose of Artemidorus and the letter in this scene is to further the already high use of dramatic irony present within the play. The knowledge of Julius Caesar's death in the play is comical in nature, as it is almost common knowledge. Almost every character introduced into the play from Act 1 Scene has knowledge of Caesar's death (Soothsayer, Calpurnia, Brutus, the conspirators and now Artemidorus). Characters who don't know have had clues given to them (Portia and Lucius). Only the mighty Caesar himself is oblivious his impending doom, disregarding all clues given to him.

In Hytner's production of Julius Caesar the stakes in this scene have been heightened. The detail of the letter is what could be used to save Caesar's life, as in all the other claims of Caesar's death have not been very detailed, they all could have been a product of fiction (Soothsayer's just saying "beware the ides of march" and Calpurnia's nightmares), however, Artemidorus' claims are high in detail having listed all the names of the conspirators, if Caesar were to have read the note, he would have been more cautious as these allegations are so detailed. Hytner has also heightened the urgency of the situation as Artemidorus doesn't even put the letter into the post note that she is holding, but instead just rushes off to deliver the note before it is too late.

In Hytner's production of Julius Caesar the commoners are portrayed to be more like the modern day protestors, being more aggressive and invested in their political leader. Hytner allows the commoners maintain their comical nature but also add in a modern twist. The 2nd cobbler in this scene jokingly tells Flavius that he only leads these men in the streets to get more job opportunities, directly after the this joke occurs the "sting" drum pattern plays, this drum pattern usually follows jokes and punchlines in modern media. The more hostile side of the commoners is shown when the 2nd commoner pushes Flavius when he questions their celebration, this reflects modern day protests, where protesters are willing to physically assault other that have opposing political opinions.

In the play Marullus request for the 2nd commoners trade directly. In the 2nd commoners' response to Marullus, he explains his profession, makes a pun about it while chastising Marullus. He claims to be "a mender of bad soles," a person who fixes shoes. The word "soles" in this line can be replaced with "souls." By saying this the 2nd commoner implies Marullus is a bad person, a person whose "soul" needs to be mended. Following the 2nd commoners statement, we can see that Marullus misunderstood the full contents of the 2nd commoners' statement and is clearly offended by it, calling him a "naughty knave" and continuing to ask him his trade.

Marullus points out the irony in the roman commoners celebration. He recalls how they celebrated, climbing walls and towers to celebrate Pompey's victory, only now to do the same, at his defeat. Pompey's defeat shows the closed-minded nature of the commoners as they disregard all of Pompey's past successes, blinded by the victory brought by Caesar. Shakespeare uses the ironic situation to show a disconnect roman society.

In this scene of the production, Ben Whishaw as Brutus attempts to explain his actions to a devastated Mark Antony, played by David Morrissey. This scene starts with a wide side shot of Butus and the conspirators showing them and their hands showered in Caesar's blood. In the next shot the audience faces Brutus as he attempts to reach out to Mark Antony both verbally and physically with his bloody hands. Brutus claims to Antony that he doesn't see the bigger picture, as he is looking only at the conspirators hands but not their hearts. This plea by Brutus revealed to be ironic in the next shot; which is a mid shot where the audience can clearly see Antony in addition to Caesar and the hole in hole in his heart. The hole in Caesar's heart symbolises Brutus' hypocrisy as Brutus pleas for Antony to understand Brutus' point of view, while Brutus himself never fully considered Caesars' perspective but just outright murders him.

This scene in the play highlights Brutus' hypocritical nature. Brutus requests to Octavius and Mark Antony they must discuss their differences rather than head out into warfare, he addresses them as "countrymen" similarly to the speech he delivered in Act 3 Scene 2. Octavius responds to Brutus mocking his pacifism and referencing the speech that Brutus delivered in Act 3 scene 2. Octavius claims to Brutus, "not that we love words better, as your do." This claim parallels Brutus' statement his Act 3 scene 2 speech claiming "not that I loved Caesar less, but that Ioved Rome more." Mark Antony then follows up Octavius' insult by pointing out the hypocrisy in Brutus' plea. He explains how Brutus did not even attempt to speak to Caesar before murdering him in cold blood, alleging that Brutus "gives good words" after "bad strokes."

David Morrissey's delivery of Mark Antony's famous speech uses the surroundings in order to provoke the the roman citizens' and the audiences' sense of pathos. When noticing Calpurnia's tears Antony lowers his body and wipes them off of her face, calling them "gracious drops". This allows for the roman citizens to see Antony as a caring and gentle person, which allows for them to trust him and what he claims. Antony continues to invoke pathos in the roman citizens by pulling the clothe off of Caesar's deceased body and describing the body to be "marr'd" by "traitors," the use of the body allows for the audience to see the wounds of Caesar, as it reminds them of how the conspirators cruelly assassinated him and then proceeded to bathe their hands in his blood.

In this scene of the production the audience is able to observe the tenuous relationship between Antony and Lepidus. The viewers are able to sense the tension within this political alliance when Octavius, Antony and Lepidus are discussing who they want to kill. Lepidus allows the death of his brother on the condition that Mark Antony's nephew is killed; this "an eye for an eye" mentality shows the hostile conditions of the alliance they have formed. Lepidus' actor aggressively delivers the lines "upon condition Publius shall not live, who is your sister's son, Mark Antony," makes this scene sound more like a business transaction than an alliance. The fact that Lepidus makes Antony confirm that he allows for the death of his nephew shows the distrust that the men have for each other.

Mark Antony's command to Lepidus unveils his manipulative and calculating nature. It is revealed in the command that, Antony had in fact not told the full contents of Caesar's will to the roman citizens in his speech (Act 3 Scene 2). Antony verbally manipulated the will in order to get the audience back on to the side of Caesar and in turn his side; claiming in the will every roman will receive "seventy-five drachmas." In the command we can see Mark Antony now attempt to physically manipulate the will of Caesar so that its contents fits what he claimed during his speech.

In these series of of lines Shakespeare is able to show Mark Antony's manipulative nature, in addition to injecting a comical comparison and metaphor. Octavius claims to trust Lepidus calling him an experienced and benevolent soldier. Mark Antony responds to this claim humourously by comparing Lepidus to Antony's very own horse. Antony continues to insult Lepidus calling him "a creature" whose "corporal motion govern’d," Antony's "spirit". This metaphor shows that Antony thinks of Lepidus to be at most a tool; who gives him more control over the republic.