WEBVTT - 36 - Noomi Rapace (The Secrets We Keep) 0:00:29.780 --> 0:00:31.080 From CurtCo Media. 0:00:31.380 --> 0:00:32.229 There's no place like Hollywood. 0:00:44.900 --> 0:00:47.919 Welcome to another special episode of Hollywood Unscripted, Stuck At 0:00:47.919 --> 0:00:50.989 Home. I'm Jenny Curtis and today I am virtually sitting 0:00:50.989 --> 0:00:55.160 down with the coolest actress, Noomi Rapace. She's well- known 0:00:55.160 --> 0:00:57.730 for originating the role of Lisbeth Salander and The Girl 0:00:57.730 --> 0:01:00.210 With the Dragon Tattoo and the rest of that series. 0:01:00.450 --> 0:01:03.560 She's been in Sherlock Holmes: Game of Shadows, Bright, What 0:01:03.560 --> 0:01:07.079 Happened to Monday, The Drop, and so many more. She's 0:01:07.080 --> 0:01:09.910 an actress with fierce strength and an open heart and 0:01:09.910 --> 0:01:12.650 today we get to cover her latest movie, The Secrets 0:01:12.670 --> 0:01:15.510 We Keep, along with the rest of her career. Noomi, 0:01:15.690 --> 0:01:17.101 thank you so much for joining me. 0:01:17.101 --> 0:01:18.350 Thank you for having me. 0:01:18.450 --> 0:01:20.630 You're currently in London, is that correct? 0:01:20.750 --> 0:01:23.439 That is correct. I'm in my house in London and been 0:01:23.640 --> 0:01:26.539 in quarantine for the last 14 days because I've been 0:01:26.539 --> 0:01:28.610 traveling this summer and then I came back and I've 0:01:28.610 --> 0:01:32.160 been stuck in my house, watching a lot of films. 0:01:32.220 --> 0:01:34.509 It's a strange time but also gives me time to 0:01:34.509 --> 0:01:35.430 catch up on things. 0:01:35.500 --> 0:01:37.869 It's definitely a shorter quarantine than some of us who 0:01:37.869 --> 0:01:40.419 have been stuck in our homes for like three months 0:01:40.420 --> 0:01:41.190 at this point. 0:01:41.979 --> 0:01:44.130 Oh my God, I know. I have a lot of 0:01:44.130 --> 0:01:46.780 friends in L.A. Normally I go there a couple of times 0:01:46.780 --> 0:01:48.890 a year and I stay for a month or six 0:01:48.890 --> 0:01:52.070 weeks and I miss my friends so much. It just 0:01:52.070 --> 0:01:54.529 feels very unreal and it feels like you guys have 0:01:54.530 --> 0:01:57.710 had it way tougher than we. It's been quite hard 0:01:57.710 --> 0:01:59.220 and it kind of feels like you're living in a movie. 0:01:59.700 --> 0:02:02.530 Yeah, that's a good way of putting it, living in 0:02:02.530 --> 0:02:06.010 a movie. It feels very unreal. But we're all healthy 0:02:06.010 --> 0:02:08.180 here and I'm glad that you're healthy and you've gotten 0:02:08.180 --> 0:02:10.299 to travel. How have you been traveling? How do you 0:02:10.299 --> 0:02:11.769 stay safe? What have you been doing? 0:02:12.019 --> 0:02:16.469 I went to Sweden for work. Sweden and Denmark for 0:02:16.470 --> 0:02:20.480 meetings, and I'm producing a couple projects, so I went 0:02:20.480 --> 0:02:24.139 to work with my partners. Then I went to my 0:02:24.139 --> 0:02:28.869 friend's birthday in Spain. In Europe, some countries are open. 0:02:28.870 --> 0:02:32.190 There's rules, obviously, but it's very different. In some countries 0:02:32.190 --> 0:02:34.959 there's less rules, like in Sweden, people are not wearing 0:02:34.959 --> 0:02:38.179 any masks and people social distance and all that, but 0:02:38.180 --> 0:02:41.200 it's way more relaxed. I mean, now we're kind of 0:02:41.200 --> 0:02:43.799 slowly going back to normal in London, which feels good. 0:02:43.799 --> 0:02:46.690 My son is back in school and I'm prepping for 0:02:46.690 --> 0:02:47.380 a film. 0:02:48.500 --> 0:02:51.310 Talking about producing, I'd love to jump in immediately with 0:02:51.310 --> 0:02:54.700 The Secrets We Keep, which is coming out this week, 0:02:54.700 --> 0:02:57.320 September 16th, in theaters and then will be on VOD 0:02:57.320 --> 0:03:01.310 in October. You are an EP on the film as 0:03:01.320 --> 0:03:03.549 well as the lead. I just would love to hear 0:03:03.549 --> 0:03:06.650 about the genesis of this project and yeah, take us 0:03:06.650 --> 0:03:07.450 from the beginning. 0:03:07.679 --> 0:03:12.290 Yeah, wow. So I was given this script way back, 0:03:12.290 --> 0:03:15.980 maybe three, four years ago, and it actually came to 0:03:15.980 --> 0:03:18.510 me and Joel because we were looking for something to do 0:03:18.519 --> 0:03:21.119 together. Then I read it and I called Joel. I 0:03:21.120 --> 0:03:24.109 was like, " Dude, there's something in here. There's a heartbeat. 0:03:24.109 --> 0:03:25.829 There's a core. There's a story that needs to be 0:03:25.829 --> 0:03:29.679 told." Then I came on board as a producer and 0:03:29.679 --> 0:03:32.940 then we started this journey to find a director. So 0:03:32.940 --> 0:03:35.810 I met with different directors and when I met Yuval, 0:03:35.810 --> 0:03:39.270 that was when it kind of all just fell into 0:03:39.270 --> 0:03:42.400 place. I always knew the script needed work, because I 0:03:42.400 --> 0:03:47.839 wanted to explore something less known and kind of change 0:03:47.840 --> 0:03:51.750 my character into something that was... Originally she was not 0:03:51.810 --> 0:03:54.860 of Roma descent, so I kind of wanted to shine 0:03:54.860 --> 0:03:57.670 light on a problem and on a situation that people 0:03:57.670 --> 0:04:01.610 knew less about. When I met Yuval, he had the 0:04:01.610 --> 0:04:05.100 same perspective, so we just clicked straightaway and I called 0:04:05.250 --> 0:04:09.020 the other producers and the financiers, and everyone was like, " We have 0:04:09.020 --> 0:04:12.809 our director." I was shooting Jack Ryan in New York, 0:04:12.990 --> 0:04:16.029 so I went to Yuval's house early mornings and late 0:04:16.029 --> 0:04:18.940 nights and we were just sitting and working on the story together. 0:04:19.640 --> 0:04:22.729 It was very much our collaboration and us kind of 0:04:22.729 --> 0:04:27.349 diving into this world and doing research and finding Maja's 0:04:27.349 --> 0:04:30.750 story, my character's story, but also getting to learn the 0:04:30.750 --> 0:04:34.589 world back then and what was going on. And it was 0:04:34.589 --> 0:04:39.510 our goal to use real events and I kind of 0:04:39.510 --> 0:04:43.419 get inspired by things that really happened and work that into 0:04:43.419 --> 0:04:46.700 our story. So it became really personal for me and 0:04:46.880 --> 0:04:48.630 I am very proud of the film. 0:04:49.120 --> 0:04:50.750 Yeah, it's a beautiful film. 0:04:50.890 --> 0:04:54.070 Thank you. And you know what's funny, Jenny? Now as a producer I can say 0:04:55.219 --> 0:04:57.320 that I'm proud of the film because I find it really 0:04:57.320 --> 0:05:01.419 problematic watching myself. I'm not a big fan of me. 0:05:02.099 --> 0:05:02.180 Are you kidding? 0:05:02.510 --> 0:05:04.700 But as a producer it's like the whole film is 0:05:04.700 --> 0:05:07.539 my baby. So I love Chris Messina's performance and Joe's performance 0:05:07.539 --> 0:05:11.590 and Amy's performance. I can watch them over and over. 0:05:12.070 --> 0:05:15.200 Stepping into the producer chair, I can see the project 0:05:15.200 --> 0:05:18.289 with new eyes. I've always had this blurred vision when 0:05:18.289 --> 0:05:20.390 I talk about my own films because it's like, " Oh yeah, 0:05:20.570 --> 0:05:22.950 my performance and me, me, me," and I find that 0:05:22.950 --> 0:05:25.310 a bit problematic. But now I'm like, yeah, no, I'm 0:05:25.310 --> 0:05:27.870 proud of the film from the producer's perspective. 0:05:28.240 --> 0:05:29.780 Is this your first time producing? 0:05:29.870 --> 0:05:32.419 No, it's not, but it's the first time I was 0:05:32.419 --> 0:05:35.869 so hands on. And I was sitting with, in weekends 0:05:35.870 --> 0:05:37.859 and when we would shoot, we shot in New Orleans. 0:05:37.859 --> 0:05:40.419 I was sitting late nights with the other producer and 0:05:40.419 --> 0:05:43.039 Yuval and working on the script and working on the 0:05:43.250 --> 0:05:47.089 production schedule and into small details. So I was very 0:05:47.089 --> 0:05:51.059 hands on and it was incredible. Very hard but very, very 0:05:51.060 --> 0:05:53.550 fun. So it's the first time I was that involved, 0:05:53.880 --> 0:05:55.440 but I've been executive producer before. 0:05:55.650 --> 0:05:57.560 Was it a struggle to kind of take off your 0:05:57.560 --> 0:05:59.400 producer hat and put on your actor hat, or did 0:05:59.400 --> 0:06:00.830 they kind of blend together? 0:06:01.050 --> 0:06:04.089 You know, it's interesting that you ask because I've always been scared 0:06:04.700 --> 0:06:08.770 of going between the looking at a story and a 0:06:08.770 --> 0:06:12.239 character and being inside it. And I go really deep 0:06:12.240 --> 0:06:14.740 into my characters. So I think I had this fear 0:06:14.740 --> 0:06:17.529 before that's like, " Oh yeah, I can't do both." I've 0:06:17.529 --> 0:06:19.990 been asked to direct films and I was like, " Can't 0:06:19.990 --> 0:06:23.029 do that. I need to stay in it. I need to 0:06:23.029 --> 0:06:26.690 be on the inside." Funny enough, it was less hard 0:06:26.690 --> 0:06:30.070 than I thought, because the responsibility as a producer is 0:06:30.070 --> 0:06:32.520 very different from when I'm an actress. Because I always 0:06:32.520 --> 0:06:38.020 need to find the truth, the character's own personal navigation 0:06:38.020 --> 0:06:42.190 system, like what is her perspective on things? What is her 0:06:42.190 --> 0:06:45.180 back story? Who is she? What is she like? What's 0:06:45.180 --> 0:06:47.859 her fears? What is her dreams? If I have filled 0:06:47.859 --> 0:06:52.479 up myself, my whole tool box of the character's colors, 0:06:52.479 --> 0:06:55.729 basically, then I have it. It was kind of interesting 0:06:55.729 --> 0:06:58.260 to discover that I could just open that box. It 0:06:58.260 --> 0:07:01.990 was almost like a visual thing. I'm interesting almost Narnia. 0:07:02.190 --> 0:07:04.270 When you walk in, you open the door and you 0:07:04.270 --> 0:07:06.500 step into this universe, and then I close the door 0:07:06.500 --> 0:07:08.960 to the producer. And then I remember one day when 0:07:09.049 --> 0:07:11.890 Yuval came to me and he was asking something and I 0:07:11.890 --> 0:07:13.440 was like, " No, no, no, no. I can't do that 0:07:13.440 --> 0:07:15.449 now. I need to stay on this side." Because then 0:07:15.450 --> 0:07:17.910 it became split personality for a second. I was like, " 0:07:17.910 --> 0:07:20.710 No, I can talk about that in the end of the day." It was 0:07:20.710 --> 0:07:25.330 very, very interesting. I felt so connected with Maja. She 0:07:25.330 --> 0:07:28.840 kind of came to me quite natural, I would say. 0:07:29.260 --> 0:07:31.420 I saw an interview that you did a couple of years ago where 0:07:32.110 --> 0:07:33.910 you kind of said you take your characters home with 0:07:33.910 --> 0:07:36.870 you and when you're playing them they really affect your life. 0:07:36.960 --> 0:07:37.310 They do. 0:07:37.690 --> 0:07:40.450 Was it different on this one then, because you were able 0:07:40.450 --> 0:07:42.590 to step out and be a producer, or did Maja 0:07:42.830 --> 0:07:44.160 affect you in some ways? 0:07:44.470 --> 0:07:49.470 I think she affected me even more because some days 0:07:49.470 --> 0:07:54.500 I was totally, I felt like I was drowning. It 0:07:54.500 --> 0:07:59.280 was like I was pulled down in this emotional roller coaster 0:07:59.280 --> 0:08:02.330 and I was doing ice bath. I (inaudible) , that you 0:08:02.330 --> 0:08:04.629 met him, my assistant. She was like filling up. She was 0:08:04.630 --> 0:08:08.620 like getting those big, big buckets and like big 10 0:08:08.620 --> 0:08:11.300 kilos bags of ice and filled up my bathtub. And 0:08:11.300 --> 0:08:13.480 I was like in ice for three minute. It's like 0:08:13.710 --> 0:08:18.550 cooling down my system and my nightmares, I had a 0:08:18.550 --> 0:08:21.580 lot of nightmares that was very much Maja's universe. And 0:08:21.580 --> 0:08:24.470 what happened to her when she was young and broken 0:08:24.480 --> 0:08:27.690 memories and I totally felt that she took over, but 0:08:27.830 --> 0:08:32.150 what was interesting, I managed to be less emotional about 0:08:32.150 --> 0:08:34.910 it when I left set. She was there, but I 0:08:34.910 --> 0:08:37.869 could have basically put her to sleep. I was like, " Okay, 0:08:37.920 --> 0:08:40.760 you rest now I need to step in and sort 0:08:40.760 --> 0:08:41.170 some stuff." 0:08:41.870 --> 0:08:44.209 Have there been other roles that you couldn't do that 0:08:44.209 --> 0:08:44.880 so much? 0:08:44.959 --> 0:08:48.390 Oh yeah. The normal me would be that the character 0:08:48.390 --> 0:08:52.359 is very much alive in me constantly. But I was 0:08:52.360 --> 0:08:54.629 doing research for a film once and I met this 0:08:54.630 --> 0:08:59.300 woman who had multiple personality disorder and she said, " There's 0:08:59.300 --> 0:09:02.459 many versions of me. They're always here. I see all 0:09:02.459 --> 0:09:06.130 these figures and demons and creatures behind you normally when I'm 0:09:06.130 --> 0:09:09.300 talking to you, but I choose to ignore them. And 0:09:09.300 --> 0:09:11.569 then I will have a conversation with them when we're 0:09:11.569 --> 0:09:14.540 done Noomi." And I was like, " Okay." That's how it 0:09:14.540 --> 0:09:18.199 normally is for me. My character's always in me and 0:09:18.199 --> 0:09:21.179 I go home or normally I'm away somewhere, but I 0:09:21.179 --> 0:09:24.929 don't really socialize as much when I'm working. I go 0:09:24.929 --> 0:09:27.660 into my own universe and I kind of go to 0:09:27.660 --> 0:09:28.939 the gym in the end of the day and I 0:09:28.939 --> 0:09:31.499 go to bed. I don't do dinners. I try to 0:09:31.500 --> 0:09:34.990 stay in it but it also depends on the character. 0:09:34.990 --> 0:09:39.160 Some characters kind of needs more and are more greedy 0:09:39.850 --> 0:09:42.439 with my time and my heart. The Girl with a 0:09:42.439 --> 0:09:45.280 Dragon Tattoo is maybe one of the most extreme ones, 0:09:45.280 --> 0:09:47.369 but it was such a long shoot. We did three films 0:09:47.370 --> 0:09:50.250 back to back and it was like six months of preparation. 0:09:50.250 --> 0:09:52.349 So is I think a year and a half when 0:09:52.350 --> 0:09:55.340 she was living in me. And she very much took over 0:09:55.400 --> 0:09:59.270 my soul and my body and my... so I transformed 0:09:59.400 --> 0:10:03.010 my look, became her. I was blending in with her 0:10:03.010 --> 0:10:06.270 more and more. I remember some of my friends and my 0:10:06.270 --> 0:10:08.209 son said to me, at some point, he's like, " I 0:10:08.209 --> 0:10:10.240 don't know who you are." I was like, and I 0:10:10.240 --> 0:10:13.270 could feel like, " Oh, I'm on the edge now, do 0:10:13.270 --> 0:10:16.750 I need to pull myself back?" It's been moments when 0:10:16.750 --> 0:10:19.809 I feel like I'm almost tipping over, but I never 0:10:19.809 --> 0:10:22.350 did. I always managed to find a balance where it's 0:10:22.350 --> 0:10:24.809 like, okay, I know where the edge is. I know 0:10:24.809 --> 0:10:27.809 that I could maybe get lost, but I also know 0:10:27.860 --> 0:10:31.070 how to bring myself back. And that's something I'm constantly 0:10:31.390 --> 0:10:35.420 working on, pulling myself back into, here's the safe spot. 0:10:35.420 --> 0:10:38.359 It's almost like a safe word that brings me back to 0:10:38.500 --> 0:10:42.001 sanity. But sometimes maybe I think it's sanity. It's not (inaudible) 0:10:42.001 --> 0:10:45.880 some films, I don't realize how crazy I was until 0:10:45.880 --> 0:10:48.869 I'm done. And then I was like, " Oh, I was quite far gone." 0:10:49.160 --> 0:10:51.639 So for The Girl with the Dragon Tattoo for Lizbeth, 0:10:51.720 --> 0:10:54.980 was it because of what the character demanded or was 0:10:54.980 --> 0:10:57.449 it really the length of having to work on three 0:10:57.449 --> 0:10:58.809 projects back to back? 0:10:58.939 --> 0:11:01.959 I would say it was combination maybe. And she was also 0:11:01.959 --> 0:11:06.410 very cried, broken inside and very much a loner. So 0:11:06.410 --> 0:11:08.500 I didn't interact with people and I kind of felt 0:11:08.500 --> 0:11:10.760 like I went deeper and deeper into my own universe. 0:11:11.350 --> 0:11:13.699 And the less contact you have with people, the less you 0:11:13.699 --> 0:11:17.150 share what's going on. And the more you will start answering 0:11:17.150 --> 0:11:20.609 yourself, it's almost like you have conversations with yourself rather 0:11:20.610 --> 0:11:23.989 than involving others. When I did the Seven Sisters, What 0:11:23.990 --> 0:11:27.729 Happened to Monday, when I played seven total different characters, 0:11:27.870 --> 0:11:29.969 they took a grip on me and it was like, 0:11:29.969 --> 0:11:33.209 they almost hijacked me. It felt like I was having a full blown 0:11:33.610 --> 0:11:36.900 relationship with those seven sisters. And I just couldn't interact with 0:11:36.900 --> 0:11:41.209 people outside of my own bubble. I remember once when 0:11:41.209 --> 0:11:44.000 one of the sisters died, we did a scene and 0:11:44.000 --> 0:11:45.850 I lost one of the sisters. And I was talking 0:11:45.850 --> 0:11:48.459 to my real sister was in London. We were talking the end of 0:11:48.800 --> 0:11:50.959 the day. And she was like, "Is she dead? Did she die 0:11:50.959 --> 0:11:53.670 today?" And I just started crying. I like, yeah, she's 0:11:53.670 --> 0:11:57.300 gone. And my sister who was home in my house, 0:11:57.559 --> 0:11:59.809 she was like sharing the pain with me. It was 0:11:59.809 --> 0:12:02.900 this strange. So the only person I could really talk 0:12:02.900 --> 0:12:05.520 to was my real sister. And maybe because I was 0:12:05.520 --> 0:12:08.199 so much in the sisterhood and what is it to 0:12:08.199 --> 0:12:12.429 have sisters, the hate, the love, the competitive side. And 0:12:12.429 --> 0:12:14.339 then it's like still, when it comes to someone from 0:12:14.339 --> 0:12:16.929 the outside attacking and it was like, " I can fight with 0:12:16.929 --> 0:12:19.629 my sister. I can hit my sister but you can't." 0:12:20.350 --> 0:12:22.329 I'm going to defend her. I'm going to die for 0:12:22.329 --> 0:12:25.099 her. Honestly, I want to kill her. You know what 0:12:25.100 --> 0:12:28.079 I mean? So it's been different on every journey sort of. 0:12:28.350 --> 0:12:30.379 Just to jump ahead to that because I really did want to 0:12:30.380 --> 0:12:32.959 ask you about it because that struck me. I just watched What Happened 0:12:32.959 --> 0:12:36.790 to Monday and the scene where you're literally mourning over 0:12:36.790 --> 0:12:40.130 her body. And it is your body. What is the 0:12:40.130 --> 0:12:43.170 process in playing against yourself? Because I know it's been done, 0:12:43.170 --> 0:12:45.910 like it's not uncommon for people to maybe play their 0:12:45.910 --> 0:12:49.790 own twin, but playing septuplets, you were really your entire 0:12:49.790 --> 0:12:50.002 support (inaudible) . 0:12:51.270 --> 0:12:55.740 It was the one man, the seven woman show. It was when 0:12:55.740 --> 0:12:58.709 the director, Tommy called me, he wanted me to do 0:12:58.709 --> 0:13:00.339 a couple of films before that with him but I 0:13:00.339 --> 0:13:02.510 couldn't because I was stuck in the project and whatever. 0:13:02.510 --> 0:13:04.189 So we've been trying to find something and then he 0:13:04.189 --> 0:13:07.100 called me and he was like, " Yo Nooms, I have something. 0:13:07.390 --> 0:13:11.030 It's a crazy story. It's seven brothers, but I can 0:13:11.030 --> 0:13:13.559 only see you do this. So if you want to come on board, we 0:13:13.559 --> 0:13:16.079 will change it into seven sisters." So I was like, " 0:13:16.079 --> 0:13:17.780 Okay, send me the script." I read the script the 0:13:17.780 --> 0:13:19.559 same night and I called him the next day. And I 0:13:19.559 --> 0:13:22.099 was like, " Man, I'm in, let's bring them to life." 0:13:22.380 --> 0:13:25.109 So when we were working on the script and change 0:13:25.209 --> 0:13:28.429 it into from seven brothers to seven sisters, I kind 0:13:28.429 --> 0:13:31.809 of felt like I had to revisit myself in different 0:13:31.809 --> 0:13:35.689 chapters of my life. Like when I was 15, one 0:13:35.689 --> 0:13:37.519 of them is more like Noomi as a 15 year 0:13:37.520 --> 0:13:41.660 old. One is Noomi as a 18 year old. One is 0:13:41.660 --> 0:13:45.050 Noomi at 24. So it felt like they were all 0:13:45.050 --> 0:13:48.870 different versions of me. So when I lost, when one 0:13:48.870 --> 0:13:52.069 of them died, it was like, I was saying goodbye 0:13:52.069 --> 0:13:56.490 to certain chapter of myself and my life, which became 0:13:56.490 --> 0:14:00.550 very personal in a way that I couldn't predict before 0:14:00.550 --> 0:14:03.469 I was in this situation because it was so I was like playing 0:14:03.469 --> 0:14:06.729 my way through the scenes. Some scenes two days to 0:14:06.740 --> 0:14:09.709 do because maybe I started on the floor dying and 0:14:09.709 --> 0:14:13.599 then in the end of the day I am crying 0:14:13.599 --> 0:14:18.829 my eyes out, holding a standing girl, a body and 0:14:19.870 --> 0:14:23.990 feeling that my heart breaks because I died and I 0:14:23.990 --> 0:14:27.270 lost my sister, but it's also, I lost myself. But 0:14:27.270 --> 0:14:30.739 the way I could always use it, like siblings and 0:14:30.740 --> 0:14:35.010 twins even more are almost connected in a way that 0:14:35.010 --> 0:14:39.150 is so powerful. So Jenny, I felt like I didn't 0:14:39.150 --> 0:14:42.360 need anyone else and it scared me. But not because 0:14:42.360 --> 0:14:44.810 I was enjoying the time on my own. I was like, " 0:14:44.880 --> 0:14:47.499 Oh, this is my show. Look at me. I don't 0:14:47.500 --> 0:14:51.220 really have that in me. I love acting because it's connection. 0:14:51.380 --> 0:14:54.239 I love to connect." If this was not an interview 0:14:54.240 --> 0:14:56.880 about me, I would love to ask you questions and 0:14:56.880 --> 0:14:59.040 hear about you and like, where did you grow up? 0:14:59.040 --> 0:15:02.360 Like, why are you sitting there and interviewing me? Like 0:15:02.360 --> 0:15:05.710 where did your curiosity into people come from? I love 0:15:05.710 --> 0:15:08.280 people that I love to connect. I'm so curious. And 0:15:08.280 --> 0:15:11.970 I'm like obsessed with understanding stuff. So for me, like 0:15:11.970 --> 0:15:15.100 acting is all about connecting. Then when I said yes 0:15:15.100 --> 0:15:17.640 to What Happened to Monday, I was terrified that I 0:15:17.640 --> 0:15:21.740 wouldn't have any, the only way, my only method in 0:15:21.740 --> 0:15:25.150 acting is connection and truth. And how can you connect 0:15:25.200 --> 0:15:28.600 with yourself if you're, I'm just here, there's no one 0:15:28.600 --> 0:15:32.000 else here. So like having a green room with marks 0:15:32.000 --> 0:15:35.040 and tennis balls and crosses and everything is going to 0:15:35.040 --> 0:15:37.009 be happening in CGI (inaudible) . It's like, " How am I 0:15:37.010 --> 0:15:40.940 even going to function? Like, where's the truth?" Strangely enough, 0:15:41.229 --> 0:15:45.000 they all just came to life. It was almost like I did a recording 0:15:45.000 --> 0:15:48.200 in my head of the... I played Saturday and then 0:15:48.200 --> 0:15:52.100 I switched to Friday and then I could almost see 0:15:52.100 --> 0:15:55.250 myself and hear myself. I mean, we did record my 0:15:55.250 --> 0:15:57.240 lines. I was listening to my own lines and answering 0:15:57.240 --> 0:16:00.050 myself, but it was like, I could see my face 0:16:00.210 --> 0:16:03.200 and I could talk to myself. So it was like an inner 0:16:03.200 --> 0:16:07.229 cinema that was going on a full on relationship drama, 0:16:07.229 --> 0:16:08.340 going on in me. 0:16:08.570 --> 0:16:10.701 So they weren't always standards then sometimes you were just talking to nothing. 0:16:10.701 --> 0:16:14.290 No sometimes, (crosstalk) , yeah. We kind of used all different techniques. 0:16:14.320 --> 0:16:18.170 Wow. Talking about the connection that you just mentioned. I 0:16:18.170 --> 0:16:21.479 actually did an interview on somebody else's podcast yesterday and 0:16:21.479 --> 0:16:24.619 he was talking to me about how actors are fearless. 0:16:24.840 --> 0:16:27.370 I like to consider myself a little bit of an actor, but 0:16:27.370 --> 0:16:29.729 like, that's not how I feel because I think it's 0:16:29.729 --> 0:16:33.750 all about connection. And to me, fearlessness is not part 0:16:33.750 --> 0:16:34.619 of the equation. 0:16:34.720 --> 0:16:38.320 I agree, but you know it's funny, I'm so scared 0:16:38.320 --> 0:16:41.550 of things. I'm terrified, but I need to confront my fears 0:16:41.550 --> 0:16:45.020 and I need to step into those rooms. Like if 0:16:45.020 --> 0:16:48.350 I feel like, " Oh, this is too scary." Like, I 0:16:48.380 --> 0:16:52.430 don't know. I can't, this paralyzes me. Then it almost 0:16:52.430 --> 0:16:54.450 becomes like this thing that I have to do. And 0:16:54.450 --> 0:16:56.729 I was like, " Why am I so scared? What is 0:16:56.729 --> 0:17:01.820 so dangerous? Like what's on the other side." Then it almost 0:17:01.820 --> 0:17:07.530 becomes this need to not be asleep under my own 0:17:07.530 --> 0:17:11.409 fear. So it's like, I have so much fear. I 0:17:11.409 --> 0:17:15.810 can be maybe not shy, but like I always felt 0:17:15.810 --> 0:17:17.759 like such an outsider when I grew up. And I 0:17:17.760 --> 0:17:19.969 always felt like I don't belong in this world. I 0:17:19.970 --> 0:17:22.869 don't fit in. I'm a weirdo. I'm not like the 0:17:22.869 --> 0:17:25.260 other girls. I'm not like the boys, but I want to have with the boys. But I 0:17:26.889 --> 0:17:29.949 am a girl that was like, it's kind of stuck between. And I 0:17:29.950 --> 0:17:32.609 was like, where's this space for me? And then I 0:17:32.609 --> 0:17:36.250 started watching films when I was like 13, maybe out, 0:17:36.359 --> 0:17:41.090 I live on this remote farm and films became my 0:17:41.490 --> 0:17:45.419 oxygen, my soul oxygen and I felt connected. And then 0:17:45.419 --> 0:17:50.050 my fears and my loneliness and my pain and my 0:17:50.109 --> 0:17:54.080 personal struggles, there was like a space for them. I 0:17:54.080 --> 0:17:58.119 felt like I can fly. I can be. I live 0:17:58.119 --> 0:18:01.649 in those stories that are stories being told, there's actors 0:18:01.649 --> 0:18:05.790 out there, directors bringing characters to life that are like 0:18:05.790 --> 0:18:08.930 me. And then I didn't feel alone. So that's the 0:18:08.930 --> 0:18:12.609 connection happened from my little room on this farm with 0:18:12.609 --> 0:18:16.330 people probably in LA or in New York or in 0:18:16.330 --> 0:18:22.470 London creating stuff and how that's changed me and made 0:18:22.470 --> 0:18:26.469 it possible for me to become a better version of myself. 0:18:26.929 --> 0:18:29.330 So when you were watching those films, did you know 0:18:29.520 --> 0:18:31.220 I'm going to be an actor? That's what I'm going to be. 0:18:32.220 --> 0:18:35.710 Yeah. So I grew up between Sweden and Iceland. I 0:18:35.710 --> 0:18:39.259 remember I was in my first film, like smallest part 0:18:39.260 --> 0:18:42.070 when I was seven and I was on set for three 0:18:42.070 --> 0:18:46.939 weeks. But like, if you really look for microscope, you see like, 0:18:47.379 --> 0:18:50.580 oh yeah, that little girl. But for me it was major, 0:18:50.940 --> 0:18:52.450 it changed my life. So I was on set for 0:18:52.450 --> 0:18:56.570 three weeks and the director was a crazy Icelandic, very 0:18:56.820 --> 0:19:00.570 loud man. And people were a bit scared of it, but I remember just 0:19:00.730 --> 0:19:04.270 feeling very included. I remember one day we've been working 0:19:04.270 --> 0:19:07.940 14 hours, 15 hours without breaks. And everyone was tired. 0:19:07.940 --> 0:19:10.129 Like people like, " Oh, we need a break." Or I 0:19:10.129 --> 0:19:12.190 think they wanted to wrap up the day and he 0:19:12.190 --> 0:19:14.840 just lost it. And he was like, " What is wrong with 0:19:14.840 --> 0:19:17.399 you? You're not real artist, dah, dah, dah." I was sitting 0:19:17.399 --> 0:19:20.030 next to him, just like quiet and like didn't dare 0:19:20.030 --> 0:19:21.970 to look at him. And he was like, " How old 0:19:21.970 --> 0:19:25.330 are you?" I was like seven. He's like, " She's a 0:19:25.330 --> 0:19:31.810 real actress. She doesn't complain. Look at her." And I was like, " Okay, this is 0:19:31.810 --> 0:19:35.969 what I got." I think from that moment, like he planted a seed 0:19:35.970 --> 0:19:37.629 in me and I was like, this is where I 0:19:37.629 --> 0:19:39.919 want to be. And then we moved back to Sweden 0:19:39.919 --> 0:19:43.480 and I was like 11, 12, 13 and I had my tales in 0:19:43.480 --> 0:19:46.639 me and that dream was very far away. But then 0:19:46.639 --> 0:19:50.010 when I was 15, I just brought myself together and 0:19:50.010 --> 0:19:52.780 I was like forced myself to make a decision. So I 0:19:53.100 --> 0:19:57.340 left my family and I moved to Stockholm, which was 0:19:57.340 --> 0:20:00.040 eight hours away. It's a long drive and I went 0:20:00.040 --> 0:20:03.530 to a drama high school drama college. So that's when 0:20:03.530 --> 0:20:06.170 I reconnected with the dream that started when I was seven. 0:20:06.600 --> 0:20:09.560 Now, leaving home that young, was it like, I'm leaving 0:20:09.560 --> 0:20:11.950 you to go to school and I'm going to go 0:20:11.950 --> 0:20:14.530 to this high school or college or were you leaving 0:20:14.530 --> 0:20:17.010 home and then you found your way to school? 0:20:17.260 --> 0:20:19.960 No, I knew where I was going. I've always had this 0:20:20.090 --> 0:20:24.100 very strong... I'm very stubborn. And I told my family, 0:20:24.100 --> 0:20:27.519 it's like, " I'm leaving. I'm going to go to this school." It was 0:20:27.520 --> 0:20:29.310 like, I had to audition to the school, like there 0:20:29.310 --> 0:20:31.779 was like three really hard auditions and I was like 0:20:31.780 --> 0:20:33.889 managed to get in. And I just said to them, " 0:20:33.889 --> 0:20:37.629 I'm moving and I'm leaving." They didn't stop me and 0:20:37.629 --> 0:20:41.590 they let me go. Which, I mean, my son is 0:20:41.609 --> 0:20:46.219 17 now and I would never let him go. I can't 0:20:46.530 --> 0:20:49.970 understand how you can let your 15 year old daughter move. 0:20:50.550 --> 0:20:54.760 But I was very determined and very, I kind of knew 0:20:55.200 --> 0:20:58.020 that I had to do it. I felt like things 0:20:58.020 --> 0:21:01.270 were not good and I wouldn't have turned into a 0:21:01.639 --> 0:21:05.990 human that I wanted to be if I would've stayed. So it was 0:21:05.990 --> 0:21:09.750 necessary and I became sober, I left. And I came 0:21:09.750 --> 0:21:11.919 to this new city. I've never been in a big 0:21:11.919 --> 0:21:14.690 city. I was like a farm girl. I was a good 0:21:14.690 --> 0:21:17.090 drinker and I know how to build things and I 0:21:17.090 --> 0:21:20.240