In the beginning it’s not made instantly apparent, ( but damn near) that Lindo's Paul is a shell of a man, much like so many mortars left behind in a war he was conscripted to fight in, on behalf of a country that never loved him, or his people. There came a point in the movie when he says “We fought in an immoral war that wasn't ours for rights that weren't ours”, and I thought “this is kind of the underscore of this movie”, the ghost around which this shell is wrapped. They are powerful words that speak every bit as much to Paul's inciting incident of trauma as does another poignant scene involving forgiveness. Lindo in every way sevices this role with an intelligence, an almost prophetic fire , and an intensity and emotional sincerity that governs his every move. Paul is a Volcano. A rock of a man, who refuses to move from the birthplace of his harm, filled with burning resentment that explodes in repeating intervals making it hard to be around him. Lindo adds features that further explore his bodily agitation and mental unrest as it appears on his body. There's constant shifts in his weight, his mood, and even the wrinkles in his face. His voice trembles, he seems to be reaching for his breath on occasions where he has been triggered, and the script and Lindo work together to let us know this is because he is repressing, and by the time the movie nears its end we will find out exactly what it is he's been holding. His clueing us in is important because even if subconsciously, it validates the experience. The great Arthur Lessac - the famed voice and body coach created his “Lessac Method” to show the connection between the body, the voice, and health, which in turn can also be used to show a lack of it. Changes in the potency of ones vocals or movements, or the ways in which they radiate can suggest to an audience exactly what's going on physically or mentally with a character in a way that doesn’t constitute “acting” because accessing that particular wavelength informs our bodies as what to do. It’s very funny how tapping into a certain action will bring you to an emotion. Sanford Meisner (Another extremely famous acting teacher) devised a technique that might involve banging your fist to find anger, in Lessacs case, quivering ones body would not only inform the audience of your frailty, but you of your own. Lindo whether through training or not seems to understand in ways very few actors can or have these concepts, and deploys them profoundly.