What’s the highlight of filming a movie in Rome with Stanley Tucci?

It’s definitely the cuisine. Just ask Ralph Fiennes and director Edward Berger, who collaborated with Tucci on the new papal political thriller “Conclave,” hitting theaters this Friday.

“I love making movies, but the standout moment might have been dining at a restaurant we visited towards the end, where Stanley had previously cooked with the grandfather who owned the place, and it was amazing,” shares Berger (“All Quiet on the Western Front”).

The real cherry on top came months later, when Berger reached out to the restaurant owner, inquiring about a table for him and his mother.

“He said, ‘You’re Stanley’s friend? Of course!’” Berger chuckles.

Fiennes adds, “But you need Stanley Tucci to make everything flow smoothly.”

Will they make an appearance in “The Heart of Italy,” Tucci’s upcoming culinary adventure series, as he promotes his book “What I Ate in One Year (and Related Thoughts)”?

Fiennes grins: “Yes, I’m sure that’ll be next.”

Delicious food not only feeds the body but also nourishes the spirit, and Fiennes was very connected to the emotional core of “Conclave.”

“My character is reluctant to take on the papacy and confesses to a friend that he struggles with prayer, which is a genuine acknowledgment,” Fiennes explains. “He’s experiencing a faith crisis, emphasizing the importance of questioning rather than being stuck in dogma. He returns to the notion that faith holds mysteries.”

At age 61, Fiennes is a renowned actor, notably recognized for his role as M, the tough superior in the James Bond films featuring Daniel Craig. In “Conclave,” he plays the introspective and reserved Cardinal Lawrence, who finds himself suddenly responsible for organizing a conclave—the historic election for a new pope.

This Vatican tale is steeped in deeply human flaws, primarily arrogance and greed, as various factions compete for the ultimate power of the papacy, which oversees 1.4 billion Catholics worldwide.

Tucci portrays Cardinal Bellini, who wants his friend Lawrence to step into the papal role, while John Lithgow plays Cardinal Tremblay, who harbors his own ambitions. As depicted in the 2016 book “Conclave” by Robert Harris, the dramatic outcome of the vote surprises all 200-plus Cardinals involved.

For Fiennes, a lapsed but curious Catholic, the film revived his long-standing inquiries into faith and history. He spent considerable time consulting with priests and cardinals to prepare for his role.

“I was raised Catholic, but I rebelled at 13,” he recounts, reflecting on the powerful church experience he had in Ireland, where teachings by priests and nuns were often enforced harshly.

Nevertheless, even after distancing himself from the faith at a young age, Fiennes remains intrigued by the historical figure of Jesus.

“Who was this Jesus, who likely preached in humble attire in a desert landscape, under Roman occupation?” he muses. “If we strip away the layers of the churches and artistic depictions, and we ask, ‘Who was that guy?’ He imparted a message to guide people towards living meaningful lives. This Cardinal Lawrence is also grappling with these kinds of questions.”

Fiennes’ personal connection to his character in “Conclave” shines through in powerful close-ups that capture his cardinal’s internal struggle with his beliefs. For Berger, the challenge was to portray this tormenting journey for audiences.

“His role is subtle, mostly reflected through his eyes,” notes Berger. “It’s miraculous how you can actually see his thoughts developing without any spoken words.”

Fiennes mentions that he agreed to be part of “Conclave” after watching Berger’s completed version of “All Quiet On The Western Front,” a third rendition of the renowned 1929 novel that dives into the atrocities of World War I. “What’s impressive about Edward is his eagerness to tackle challenging films and his willingness to adapt to the day’s events,” he remarks.

Berger often reminisces about advice he once heard from Harvey Keitel to Quentin Tarantino. “Harvey supposedly told him not to take away an actor’s first take,” he shares. “If you burden your actors with excessive pre-scene ideas, they might lose their natural instinct for the moment.”

Though “Conclave” is set within a Catholic context, Berger aimed to create a film that leaned more towards procedural storytelling, inspired by great works of director Alan J. Pakula, such as ‘The Parallax View’ and ‘All the President’s Men.’ “That’s the type of film I wanted,” he expresses.

As “Conclave” approaches its powerful ending, one can easily envision Pakula, who passed away at 70 in 1998, feeling a sense of pride.