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Speaker 1: Because I played crazy People. Do you trade? I'm like, no,

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Speaker 1: if you don't sing for me because I can't do math,

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Speaker 1: I'm so online. We really are exactly the.

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Speaker 2: Same Logan Roy would have loved Harper Stern.

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Speaker 1: The anxiety is getting to me right now. A gross

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Speaker 1: little Petri dish of slop. She's a crunchy granola, like

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Speaker 1: a hippie mom from California.

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Speaker 2: Yeah, lots of stories, things we can't talk about.

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Speaker 1: When I slip into those hyas l pumps and I

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Speaker 1: go home and I watch Real Housewives and oh this time,

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Speaker 1: I can't believe I couldn't see Well.

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Speaker 2: Hi there, it's Kyle McLaughlin, your host of What Are

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Speaker 2: We Even Doing? Today? We are talking with Mahala Now

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Speaker 2: you might know her as Harper Stern from Industry an

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Speaker 2: amazing performance, and we're going to discuss what it's like

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Speaker 2: to live in Wales, why it's good to stay close

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Speaker 2: to your mom, and what is a twy hard anyway?

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Speaker 2: What do we even do? What are we even doing?

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Speaker 2: This is a show where we sit down with artists, musicians, podcasters, creatives,

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Speaker 2: people who are shaking up the world and we talk

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Speaker 2: about the thing that most interesting to me. Is a

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Speaker 2: creative process and how they work, how they deal with

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Speaker 2: social what's important. Today we have a special guest. Thank

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Speaker 2: you very much. This is you, extraordinary, extraordinary actress. You

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Speaker 2: are a fashionista, which I think is very very cool.

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Speaker 2: You are self proclaimed twyhard. Yeah, we're gonna talk about

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Speaker 2: that because I'm very That's that's an area that I missed.

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Speaker 2: Although I've been to Forks. My Haula is here on

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Speaker 2: the podcast with us. I got to get the introduction out.

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Speaker 2: We're so happy to have you.

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Speaker 1: I'm so blessed to be here. Thanks.

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Speaker 2: I am so happy to hear that. We share so

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Speaker 2: many things. So I usually start just by saying you're

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Speaker 2: interested in something. When did you first go, ah, this

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Speaker 2: is what I wanted to do, be an actress, this

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Speaker 2: is what I this is my calling, this is my thing?

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Speaker 2: Or was it that clear?

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Speaker 1: This is not my own memory, but my mother loves

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Speaker 1: to tell the story when she was super super pregnant

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Speaker 1: with me.

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Speaker 2: She went she was super touo per pregnant, just pregnant, not.

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Speaker 1: Just pregnant, but bursting at the same se. Okay, she

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Speaker 1: went to see a production of Once on This Island

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Speaker 1: and she said, I was kicking so hard the whole time,

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Speaker 1: I am convinced I was doing the choreography with them

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Speaker 1: in the womb. Then goes on to say I came

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Speaker 1: out of the womb kicking and screaming and singing. So

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Speaker 1: it was kind of decided before I even knew anything,

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Speaker 1: that I was going to be an entertainer of some kind.

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Speaker 2: That's that's that's cool. And kudos to your mom for

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Speaker 2: sort of recognizing, Hey, wait a minute, something's happening here.

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Speaker 2: I was kicking her her so she couldn't really ignore it.

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Speaker 2: You're like, mom, wait, god, Yeah, well this is what

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Speaker 2: I understand. Because that leads me to the next thing

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Speaker 2: I was asking about. Is the show that you shoot?

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Speaker 2: I mean, industry is based. You shoot in London, yes,

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Speaker 2: and you live in New York. I do and recently married. Congratulations,

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Speaker 2: which is so cool. So you have a whole thing.

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Speaker 2: Explain to me how you've set up the dynamic of

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Speaker 2: travel and getting back and shooting and how does that

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Speaker 2: work for the show.

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Speaker 1: Yeah, so we shoot usually about six months in Cardiff, Wales.

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Speaker 2: Oh my god, Okay, it got worse. Are you familiar

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Speaker 2: you must well no, I mean I've I've worked in London,

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Speaker 2: you know, so, and London is a great city to

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Speaker 2: work in and you know, you got access to everything.

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Speaker 2: But I've been to Wales. I shot an old votaphone

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Speaker 2: commercial in Wales, oh my, oh yes, goodness, in near

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Speaker 2: some community that I can't pronounce the name because they're

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Speaker 2: about fourteen consonants in two vowels. Absolutely, but I've never

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Speaker 2: been to Cardiff, which I imagine is beautiful.

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Speaker 1: Yeah, all of Wales is gorgeous. Yeah, it's a very

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Speaker 1: outdoorsy kind of place, rolling hills and sheep and beaches

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Speaker 1: and outdoors, like outdoors, there's a lot of that.

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Speaker 2: Yeah.

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Speaker 1: And Cardiff, I think is there like major cities, So

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Speaker 1: there's quite a bit in Cardiff. A lot of people

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Speaker 1: come to Cardiff, like on the weekends and they go

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Speaker 1: out to dinner, and they go to the bar, and

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Speaker 1: they have rugby and there's some place where you see

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Speaker 1: US shows. I'm not sure. It was like a place

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Speaker 1: where people can go and entertain themselves. And there's castles,

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Speaker 1: lots of castles. So we've got like six months there

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Speaker 1: and then when I'm not working, I'm based in New York,

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Speaker 1: but I do travel quite a bit around Europe for

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Speaker 1: work and other things around the show, in fashion and

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Speaker 1: some other things. So I do spend most of my

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Speaker 1: time East. So my mom, I'm an only child. It's

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Speaker 1: just her and me and our dream, our plan, because

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Speaker 1: I told her from kicking in the womb that I

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Speaker 1: was going to move to New York and go be

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Speaker 1: on Broadway and being a star. And so our plan

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Speaker 1: was always, when the time comes, she'll move to New

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Speaker 1: York and we'll get a two family home like a Brownstone,

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Speaker 1: and we'll live together, and that's our dream. And we

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Speaker 1: got impatient, so she got an apartment. But the dream

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Speaker 1: is still very much alive and that's our goal. And

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Speaker 1: one day, when I start a family of my own,

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Speaker 1: then we'll all be there together. And it's nice because

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Speaker 1: it's harder to get from Europe to California, and when

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Speaker 1: I don't have so much time, it's nice. Or then

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Speaker 1: we get to spend so much time together now in

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Speaker 1: New York. That's good, which I'm so grateful for.

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Speaker 2: That is really really nice. You're obviously very close to

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Speaker 2: your mom, super duper cool. It's a beautiful thing. Yeah,

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Speaker 2: having the idea family and being able to be together

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Speaker 2: and even thinking ahead of saying we're all going to

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Speaker 2: be keep this unit together is really important.

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Speaker 1: Time is so limited in this this business that we're in.

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Speaker 1: We travel so much and we work a lot. Even

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Speaker 1: when we're not working, you know what I mean, So

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Speaker 1: any available time that I have, I want to spend

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Speaker 1: it with her.

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Speaker 2: I love that there's a sense of you have a

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Speaker 2: sense of grounding. I know when I was a kid

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Speaker 2: growing up, just starting to work, I was like, we

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Speaker 2: you know, you have no sense, just like you're off

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Speaker 2: in Mexico for seven months, let's go have fun. And

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Speaker 2: they're like, oh, there's a home. Oh yeah, I guess

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Speaker 2: I should go back there. But I don't know. I guess.

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Speaker 2: I was more like I made my home wherever I

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Speaker 2: ended up, right, But I didn't have such a strong

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Speaker 2: connection as you as you do with your mom, you

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Speaker 2: know what I mean, So you have like an anchor.

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Speaker 1: I was definitely still like we. I definitely did. We

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Speaker 1: also we around the town while I first started working,

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Speaker 1: But I really needed the sense of grounding. She does

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Speaker 1: that for me. I love to be home. I love

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Speaker 1: to make home. That's where I recharge. My little apartment

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Speaker 1: is my sanctuary. So it's nice that she can be

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Speaker 1: around and be involved in that sanctuary.

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Speaker 2: Yeah, that is a sense of comfort. Yeah, totally really important.

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Speaker 2: I think we have a similar it's a similar art arc.

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Speaker 2: Tell me. But so I went to school. You went

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Speaker 2: to school.

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Speaker 1: Yes, I went to Carnemail and studied musical theater.

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Speaker 2: Okay. I went to the University of Washington planning to

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Speaker 2: be musical theater actor. Really Broadway and off right and

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Speaker 2: even off off Broadway.

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Speaker 1: Off off of broad Way and off the off of Broadway. Yeah.

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Speaker 2: So I started singing when I was about sixteen. I

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Speaker 2: took piano lessons. I was a complete nerd, you know,

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Speaker 2: the high school nerds. I took piano lessons, then I

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Speaker 2: took voice lessons. Then I went to college studied opera,

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Speaker 2: which was crazy.

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Speaker 1: Wait, God, if you don't sing for me, I will.

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Speaker 2: No, no, no, there'll be no singing, there will be

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Speaker 2: no nose or will there. But I was on this

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Speaker 2: track right and even though I was in acting school,

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Speaker 2: I would you know, music was a big part of

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Speaker 2: it for me, you know. Okay, so you're in there,

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Speaker 2: you're in school, You're going this is my plan?

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Speaker 1: Yeah, well this was this was always my plan. I

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Speaker 1: didn't even have I was one of those kids who

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Speaker 1: was also really lucky like my mom. There was never

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Speaker 1: like a plan B. There was no like, oh, you're

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Speaker 1: going to do theater or you're going to be an actor.

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Speaker 1: You're going to go do Broadway. But if that doesn't work,

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Speaker 1: then what that? I never heard that at home.

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Speaker 2: Amazing.

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Speaker 1: My mom understood that this is what I wanted. She said, cool,

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Speaker 1: we'll go get it. You know how to go get it.

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Speaker 1: Let's take all the steps, let's do all the things.

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Speaker 1: So if I was ever going to go to college,

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Speaker 1: it was only going to be for musical theater because

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Speaker 1: I can't do math.

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Speaker 2: So you should sound like you can't on the show.

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Speaker 2: But when we talk about that later.

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Speaker 1: Yeah, So I auditioned to I think ten or twelve

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Speaker 1: schools and I got into a handful of them. When

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Speaker 1: I finally got into Cardegia Mail and that was my

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Speaker 1: last yes, and I was thrilled and I loved the

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Speaker 1: campus and the thing that I and my mom appreciated

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Speaker 1: the most about Carnegamilon's program is their musical theater. But

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Speaker 1: there the act The musical theater program is the same

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Speaker 1: in terms of like what acting classes as the acting program,

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Speaker 1: so they really focus on being an actor first, being

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Speaker 1: a storyteller first, so that there's longevity in your career,

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Speaker 1: because if I can't dance anymore, I can still be

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Speaker 1: an actor. I can still you know. So my training

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Speaker 1: was really transferable to film and TV, even though at

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Speaker 1: the time it was not on my radar at all,

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Speaker 1: not even in the slightest I said, I'm going to

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Speaker 1: go be on Broadway. I'm going to be in Legally

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Speaker 1: Blonde to the musical the Reprise, I'm going to do that. Yeah,

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Speaker 1: But I loved school. It was really it was really

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Speaker 1: hard and confusing. It was like quintessential drama program. Oh

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Speaker 1: so much drama, so much discovering yourself. And I was

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Speaker 1: with the same twenty.

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Speaker 2: Six kids twenty six we had thirteen thirty. Okay, well

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Speaker 2: twenty six, same twenty six. You can sort of you know,

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Speaker 2: there's more variety. Yeah, thirteen. Everyone is pretty much with everybody.

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Speaker 2: Oh yeah at the end of the three years, so

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Speaker 2: you know, you're like, okay.

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Speaker 1: Well we were six, we were thirteen in the musical

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Speaker 1: theater program, I'm including the actors and being generous, so

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Speaker 1: we really are exactly the same. You have slept with everyone,

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Speaker 1: everyone's dirty Skottle secrets, all the things. It's a gross,

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Speaker 1: little Petri dish of slop, but it was magic. I

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Speaker 1: mean I learned so many things. And when I graduated,

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Speaker 1: I moved with two of my best friends, one girlfriend

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Speaker 1: my program and another one who was just a hanger

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Speaker 1: ond she just loved us. And we moved into this

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Speaker 1: to an apartment in a building with like five of

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Speaker 1: our other classmates. So we essentially just like moved our

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Speaker 1: program to New York, which made the transition a lot easier,

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Speaker 1: I imagine. Yeah.

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Speaker 2: Yeah, you have people everyone's going through the same kind

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Speaker 2: of thing trying to figure it out.

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Speaker 1: We weren't trying. I mean I certainly wasn't imagining a

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Speaker 1: life of like riches and fame. I was going to

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Speaker 1: go be poor and on the stage. Yeah yeah, yeah,

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Speaker 1: and I was gonna love it. That was my life.

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Speaker 1: You know, you're passionate about it exactly, Passionate about story telling,

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Speaker 1: passionate about like being in a room with an audience.

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Speaker 2: I love that your mom was like, yes, go for it.

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Speaker 1: Well, my mom is mom was a hairdresser. You know,

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Speaker 1: she's a creative as well. She's a crunchy granola like,

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Speaker 1: you know, a hippie mom from California. So she was like,

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Speaker 1: go live your dreams whatever that means. However that means,

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Speaker 1: that's awesome.

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Speaker 2: It's so interesting that she's like that. And yet the

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Speaker 2: first role that you found was like this really hard

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Speaker 2: drive in an intellectual Your progression through the seasons is

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Speaker 2: really a testament to your acting, which is amazing. And

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Speaker 2: as you change and as you modify her physically, and

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Speaker 2: also I've got to say for the creators, they're impressive, Yes,

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Speaker 2: very really impressive. And I was watching a little in

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Speaker 2: of you saying, you know, they sort of said we

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Speaker 2: kind of learned as we were doing it as well,

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Speaker 2: but continue to grow, you know, which I think is

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Speaker 2: the hallmark of a successful show. It has to continue

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Speaker 2: to evolve and grow, and the characters have to become

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Speaker 2: you know, they have to continue to you know, expand

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Speaker 2: you know in a way that you buy. You know,

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Speaker 2: sometimes it can be I don't think the character is

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Speaker 2: going to would do that or go in that direction

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Speaker 2: necessarily based upon kind of the structure of how we started.

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Speaker 2: But you bring such honesty to it, which is it's amazing.

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Speaker 2: You know when you say that you don't do math,

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Speaker 2: I'm like, I would never believe that.

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Speaker 1: You know, people still ask me like, oh, do you trade?

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Speaker 1: I'm like, no, no, absolutely not.

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Speaker 2: How do you feel in the world of the show,

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Speaker 2: so you step into this character which is different than

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Speaker 2: you obviously, was there a process in and curiously your

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Speaker 2: process out every day?

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Speaker 1: How do you saying what you've said about making connad

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Speaker 1: our writer creators. They are really tuned in. They're plugged

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Speaker 1: into the world first of all, but they're really tuned

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Speaker 1: into us. And the sort of lightning bolt and the

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Speaker 1: gift of this show is when we started in season one,

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Speaker 1: all of these characters were recent graduates, new to this company,

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Speaker 1: feeling imposter syndrome, desperate to make their mark and to

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Speaker 1: hold onto this job. The whole first season was them

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Speaker 1: like throwing anything at the wall and hoping it would stick,

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Speaker 1: with so much anxiety and desperation and panic, and you know,

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Speaker 1: and as we're all of we, all of us, all

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Speaker 1: of we literally the anxiety is getting to me right

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Speaker 1: now thinking about.

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Speaker 2: I can imagine. Ba's why putting it away at the

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Speaker 2: end of the day is so important.

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Speaker 1: But I want to hear what you're with, what you're

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Speaker 1: going with, Well, it was like not hard to pretend

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Speaker 1: that I was afraid that I had no idea what

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Speaker 1: I was doing because I kind of didn't. There was

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Speaker 1: no proof I hadn't really done much anything to give

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Speaker 1: me any indication that I could do this show. So

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Speaker 1: all of the like bright Eye bushy tailed mania of

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Speaker 1: season one came naturally to all of us, and as

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Speaker 1: we we've had the pleasure of making the show over

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Speaker 1: a long time, and we just we naturally grew involved.

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Speaker 1: And our writers, because they are smart and intuitive and

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Speaker 1: care about who we are as human beings, they evolved

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Speaker 1: the show with us as well, so like we we're whatever,

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Speaker 1: two years older before we did the second season, so

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Speaker 1: they said, Okay, the characters are going to age as well.

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Speaker 1: We're not going to pick up at a place we

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Speaker 1: left off that would be inauthentic to who we cast.

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Speaker 1: And they've modeled every season in that way, so it

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Speaker 1: feels I don't really have to try that hard anymore

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Speaker 1: to click in one. I've just been doing this show

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Speaker 1: for a long time. I'm familiar with the way they write.

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Speaker 1: I'm much more familiar with the dargon. I still don't

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Speaker 1: know what it means, but I know what it feels

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Speaker 1: like in my mouth. So it's not hard to like

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Speaker 1: click into these shoes that I've been wearing for such

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Speaker 1: a long time. Similarly, it's easier to click out of it.

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Speaker 1: But I have sort of always been really good at

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Speaker 1: separating work and me. The story that sort of comes

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Speaker 1: to mind is in drama school, we were studying Meisner

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Speaker 1: and we were doing an exercise where it was one

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Speaker 1: person was in the room and the other person came

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Speaker 1: in and you both had to have a task or

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Speaker 1: a need that was the most important, and it was

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Speaker 1: it was an exercise, and whose need trump's the other?

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Speaker 1: And when do you sort of fold to the other

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Speaker 1: person or focus your energy that way. I was coming

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Speaker 1: into the room and my my sort of thing was

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Speaker 1: that my mom had died. My imaginary given circumstance, my

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Speaker 1: mom had died and I needed comfort, and I came

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Speaker 1: in and we did the scene. It had ended in

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Speaker 1: tears and it was all this mess and our teacher said, okay, stop,

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Speaker 1: and I was like, okay, ready, pronoes, And I immediately

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Speaker 1: just could like click out of it. I just knew

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Speaker 1: that that wasn't real. And I don't know why I'm

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Speaker 1: gifted with that, because I that's a thing that I'm

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Speaker 1: really grateful that I have, but I can just give

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Speaker 1: it away. I can throw it away, I can be

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Speaker 1: done with it. Doesn't mean I'm not exhausted, but I

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Speaker 1: can walk away from an imaginary circumstance easily. And I'm

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Speaker 1: really grateful because I know that that's not true for

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Speaker 1: a lot of people.

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Speaker 2: Everyone's different. Yeah, but I think it's such a honestly

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Speaker 2: healthy way. It works for you. Everyone has their own process,

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Speaker 2: so I shouldn't make any judge, but everyone has their

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Speaker 2: own process, yeah, and then whatever works for them works

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Speaker 2: for them.

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Speaker 1: Yeah, what I mean.

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Speaker 2: But I'm I'm sort of cut from the same way.

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Speaker 2: It's like I always liking it to be. You know,

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Speaker 2: if you have an emotional scene or something coming up,

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Speaker 2: you know, I don't completely cut off, but it's like

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Speaker 2: I take whatever's happening, build a little, build it a little,

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Speaker 2: I guess, so it's there and kind of percolating. Or

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Speaker 2: I about a pot on the stove a little bit,

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Speaker 2: you know, so you might be a little less engaging

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Speaker 2: or engaged, but you're still there, you know. And then

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Speaker 2: as you begin to like focus on the scene, it

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Speaker 2: sort of you bring it down and the pot comes

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Speaker 2: up a little bit and then you're locked in and

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Speaker 2: then like you it's like I'm kind of actually, once

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Speaker 2: we're done, you know what I mean, you take the

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Speaker 2: fire off until they turn around and they say, okay,

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Speaker 2: now you're off camera. But no person, oh I got

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Speaker 2: to get this back up again. Ship yeah or yes, yes,

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Speaker 2: because it's so easy to toss it away and then go,

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Speaker 2: oh I need it back again quickly, right, Partners like

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Speaker 2: come on, But I think that's that might just part

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Speaker 2: of training, I think, because you learn totally. It's also

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Speaker 2: a thing that for me, it's it's just a stamina,

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Speaker 2: endurance energy. The more I hold on to it takes

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Speaker 2: a lot of energy, you know what I mean. And

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Speaker 2: so when you can, as you say, drop it, move on,

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Speaker 2: you know, you can kind of like okay, you know,

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Speaker 2: go have a cliff board.

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Speaker 1: Somewhere and yeah, pre charge. I think also like this

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Speaker 1: is a training thing too. Like the thing that I

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Speaker 1: learned was to make a fantasy. True. I didn't study

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Speaker 1: any sort of technique that was about bringing in my

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Speaker 1: own personal things. I hardly ever connect my work to

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Speaker 1: like my own life. The one and only time was

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Speaker 1: maybe when I did that exercise Advisor and said my

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Speaker 1: mom's dad. But I really try not to hurt myself

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Speaker 1: or involve myself. I really click into this other person's life,

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Speaker 1: and I make that other person's life true for me.

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Speaker 1: And when I'm not in that other person's life, it's

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Speaker 1: not true for me anymore. Really good distinction, because it

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Speaker 1: really does feel really, I mean, the whole point of

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Speaker 1: acting is like you, you create reality of fake reality,

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Speaker 1: and you make it feel true. Oftentimes that stuff is painful,

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Speaker 1: it could be joyous, it could be whatever. But then

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Speaker 1: I want to walk away from it and not be

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Speaker 1: holding onto someone else's life. It can get really confusing.

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Speaker 1: So I have studied compartmentalizing. I put that box over there,

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Speaker 1: and I shut it, and I go home and I

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Speaker 1: watch Real Housewives, And you know what I mean. I

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Speaker 1: decompress by getting into my own life, the stuff that

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Speaker 1: I actually love, the things that I actually feel. I

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Speaker 1: call my mom and make sure she's not dead.

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Speaker 2: You know, yes, because it's what you bring up as

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Speaker 2: something Because as you're talking, I'm thinking about my process,

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Speaker 2: and it's like there is a thing where I will

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Speaker 2: tap into something that's probably personal as a what if

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Speaker 2: you know what I mean. At the same time, I

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Speaker 2: don't want to keep pulling from that. Ye tucking on

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Speaker 2: that too. But whatever it is you know that I need,

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Speaker 2: I will get. It's almost like a Primesy engine. And

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Speaker 2: then you go into the life of the character. What

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Speaker 2: is the situation, the imaginary situation that you make real.

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Speaker 2: It's a weird profession to being an actor because you're

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Speaker 2: right out front. But I'm like, I don't really like

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Speaker 2: to be upfront. Yeah, I'm much more comfortable. Like in

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Speaker 2: the course, there are sometimes when the roles say sort

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Speaker 2: of they demand it of you.

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Speaker 1: I agree, like I sometimes have trouble being a person

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Speaker 1: who's known in the world, which is literally ridiculous because

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Speaker 1: I'm so online.

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Speaker 2: Well, hopefully we deal in truth, authentic. You're trying to

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Speaker 2: get to really the core of the character, right, so

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Speaker 2: that kind of it's also your search as a person,

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Speaker 2: you know what I mean. And so when you present

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Speaker 2: yourself or you comment or whatever it is, this is me,

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Speaker 2: you know, as a person. And I feel like, you know,

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Speaker 2: ten years ago, fifteen years ago, certainly when I was younger,

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Speaker 2: that was not done, you know, you kind of and

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Speaker 2: it's like you present to the world the image that

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Speaker 2: you want them to see, and I think now it's like, uh,

399
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Speaker 2: you know, I'm that, but I'm this, and I'm this,

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Speaker 2: and I'm all these different things.

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Speaker 1: Well, it's interesting because I do wonder often, like what

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Speaker 1: it was like to be in this space, to be

403
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Speaker 1: an actor and like not have any social media, Like no,

404
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Speaker 1: you really could completely disappear your actual self and do

405
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Speaker 1: this thing that you say, like present a picture to

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Speaker 1: everyone else like who you are, but it's really still

407
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Speaker 1: like a persona or whatever, especially when you're like creating

408
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Speaker 1: the content yourself. I hate saying that, but like when

409
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Speaker 1: you're putting yourself out there, people can smell the unauthenticity,

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00:19:31,680 --> 00:19:34,840
Speaker 1: like they know if it's not real right away, and

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Speaker 1: I think I definitely do. People crave it. That's why

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Speaker 1: I like being an actor, because I am always in

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Speaker 1: this pursuit of truth of humanity. I think people are

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Speaker 1: very interesting, and so I just want to discover and

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Speaker 1: objectify them, Like I want to get into the minds

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Speaker 1: and the psychees of people because I find them interesting.

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Speaker 1: But I want it to be true, whatever it is, bad, good, ugly, whatever,

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Speaker 1: I really want it to be true. Yeah, it's like

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Speaker 1: a hard balance to strike because I alway always want

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Speaker 1: to be true, and sometimes I feel overexposed because other

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Speaker 1: people want it to be true too, But sometimes their

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Speaker 1: perception is whatever it is, and then they feel they

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Speaker 1: need to tell you about it, and then that can

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Speaker 1: be hurtful, especially when you're always trying to be true.

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Speaker 1: I think we're also like, I'm definitely trained in the

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Speaker 1: business of being vulnerable, being susceptible to things because I

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Speaker 1: want to be like affected by my scene partner, right

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Speaker 1: so that I can be true as I respond. So

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Speaker 1: I find myself being incredibly susceptible to the world outside

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Speaker 1: of work as well. I'm a very I wear my

431
00:20:31,040 --> 00:20:34,399
Speaker 1: heart on my sleeves so much so that like anything impenetrable,

432
00:20:34,440 --> 00:20:36,280
Speaker 1: I'm not, you know, I love I would love to

433
00:20:36,320 --> 00:20:39,000
Speaker 1: say that, like I don't care about this or that

434
00:20:39,160 --> 00:20:42,840
Speaker 1: or the other thing. I'm incredibly confident and self assured,

435
00:20:43,280 --> 00:20:46,479
Speaker 1: and I'm available to get my feelings, you know.

436
00:20:46,640 --> 00:20:48,280
Speaker 2: Talking to my son who was a little interested, and

437
00:20:48,280 --> 00:20:51,600
Speaker 2: I said, one of the greatest techniques that I learned

438
00:20:51,640 --> 00:20:53,520
Speaker 2: in class is just called it's called T and L.

439
00:20:53,560 --> 00:20:55,280
Speaker 2: It's like talking and listening.

440
00:20:55,320 --> 00:20:56,920
Speaker 1: Yeah, totally, And that's just.

441
00:20:56,960 --> 00:20:58,960
Speaker 2: This is what it is. It's one of the beauties

442
00:20:59,000 --> 00:21:00,600
Speaker 2: and then this comes out of the blue, but you've

443
00:21:00,600 --> 00:21:04,000
Speaker 2: worked with Ethan he is. When I work with eath

444
00:21:04,000 --> 00:21:05,120
Speaker 2: in the first time, I was like, oh my god,

445
00:21:05,119 --> 00:21:07,800
Speaker 2: I love this guy. Because we were both like, pop up,

446
00:21:07,840 --> 00:21:10,280
Speaker 2: what about this? Okay, okay, let's try this to stry this,

447
00:21:10,320 --> 00:21:12,159
Speaker 2: and we were like kind of the director was kind

448
00:21:12,160 --> 00:21:13,720
Speaker 2: of over here, and we were like, let's figure this out,

449
00:21:13,760 --> 00:21:16,560
Speaker 2: you know what I mean. And it was really magic

450
00:21:16,640 --> 00:21:18,720
Speaker 2: and it feels like you maybe I watched one of

451
00:21:18,720 --> 00:21:20,080
Speaker 2: the interviews I had with him, but it sounded like

452
00:21:20,119 --> 00:21:21,359
Speaker 2: you guys had just a great report.

453
00:21:21,480 --> 00:21:24,400
Speaker 1: Totally. I love working with Ethan for this very thing.

454
00:21:24,480 --> 00:21:26,879
Speaker 1: What I loved and respected about him the most was

455
00:21:26,880 --> 00:21:30,160
Speaker 1: that I was like because I rocked up on that set,

456
00:21:30,359 --> 00:21:32,920
Speaker 1: being like, Okay, I'm the youngest one, I've been working

457
00:21:33,000 --> 00:21:35,120
Speaker 1: the least amount of time. I'm really ready to take

458
00:21:35,160 --> 00:21:36,680
Speaker 1: some notes. This is going to be a two month

459
00:21:36,720 --> 00:21:40,240
Speaker 1: long master class. And I'm really grateful for pay attention

460
00:21:40,400 --> 00:21:43,440
Speaker 1: to these people who have had these long, luscious careers.

461
00:21:44,440 --> 00:21:45,800
Speaker 1: And I got into the room and I was like,

462
00:21:46,080 --> 00:21:49,440
Speaker 1: we're all doing this exact same thing. We are all

463
00:21:49,480 --> 00:21:54,120
Speaker 1: in here talking and listening and searching for the truest thing.

464
00:21:54,880 --> 00:21:57,800
Speaker 1: They've just been doing it a really long time. And

465
00:21:58,440 --> 00:22:00,280
Speaker 1: Ethan is one of those people who I've feel like

466
00:22:00,280 --> 00:22:02,560
Speaker 1: I'm in a class with him all the time. He

467
00:22:02,640 --> 00:22:07,680
Speaker 1: has no shame, He's totally vulnerable. He wants truth. That's it.

468
00:22:07,760 --> 00:22:09,760
Speaker 2: I think I agree with you, and I think he

469
00:22:09,800 --> 00:22:14,000
Speaker 2: wants the best scene. He wants the best. It's not

470
00:22:14,040 --> 00:22:16,000
Speaker 2: like I want to be the best in this. I don't,

471
00:22:16,400 --> 00:22:18,480
Speaker 2: you know, there's no competition with that. It's like, let's

472
00:22:18,720 --> 00:22:21,960
Speaker 2: you go better that. And I'm just like, I'm so

473
00:22:22,440 --> 00:22:24,720
Speaker 2: grateful that he exists in the world and do such

474
00:22:24,760 --> 00:22:26,879
Speaker 2: great work, and that we're friends, and then I've worked together.

475
00:22:27,240 --> 00:22:36,280
Speaker 2: He's dynamic and wonderful. So I had a character that

476
00:22:36,400 --> 00:22:40,320
Speaker 2: was very identifiable with the black suit. Anyway, how has

477
00:22:40,680 --> 00:22:45,679
Speaker 2: styling influenced your approach to the character through the season?

478
00:22:45,800 --> 00:22:50,200
Speaker 1: Tailoring holds your body in a way that other things

479
00:22:50,800 --> 00:22:55,600
Speaker 1: do not. We have had the best costume designer on industry.

480
00:22:56,000 --> 00:22:58,360
Speaker 2: You're in England, so there's some great I mean, there's

481
00:22:58,359 --> 00:23:00,840
Speaker 2: some great ones in America. The one time that I

482
00:23:00,840 --> 00:23:02,440
Speaker 2: did is the show, it was it.

483
00:23:02,359 --> 00:23:05,800
Speaker 1: Was like, this is serious, Yeah, she doesn't play she

484
00:23:06,000 --> 00:23:08,680
Speaker 1: I mean making Conrad say this all the time in interviews,

485
00:23:08,680 --> 00:23:12,760
Speaker 1: but they're like, Laura will bring the most obscure references

486
00:23:13,119 --> 00:23:15,840
Speaker 1: of like a painting from the sixteen hundreds, and she's like,

487
00:23:15,920 --> 00:23:17,600
Speaker 1: this is what you meant when you and she said

488
00:23:17,600 --> 00:23:19,160
Speaker 1: this line, and so she's got to wear this right

489
00:23:19,160 --> 00:23:20,640
Speaker 1: and they're like, we don't know what the hell you're talking,

490
00:23:21,080 --> 00:23:23,760
Speaker 1: but yes, we love it. But she's so committed to

491
00:23:23,960 --> 00:23:27,560
Speaker 1: storytelling through her clothes. Again, no ego there. It's all

492
00:23:27,600 --> 00:23:30,400
Speaker 1: about like, what is Harper on the inside going through?

493
00:23:30,520 --> 00:23:32,680
Speaker 1: How is she how is that manifesting on the outside?

494
00:23:32,840 --> 00:23:36,040
Speaker 1: Is she protecting herself? A lot of Harper's costuming to me,

495
00:23:36,119 --> 00:23:39,919
Speaker 1: feels like armor and suiting. Tailoring is a great way

496
00:23:39,960 --> 00:23:44,080
Speaker 1: to mimic protective gear. Evolution is also like, I mean,

497
00:23:44,160 --> 00:23:46,080
Speaker 1: the show is about money, and in the first season

498
00:23:46,119 --> 00:23:49,560
Speaker 1: she's wearing like hand me down garb from Goodwill Vibes.

499
00:23:49,720 --> 00:23:53,760
Speaker 1: Second season she's in Primark, stepped up to the Targe

500
00:23:54,200 --> 00:23:57,440
Speaker 1: of the UK, and in season three and four she's

501
00:23:57,480 --> 00:24:00,680
Speaker 1: finally got the kind of money that she is after

502
00:24:00,880 --> 00:24:04,119
Speaker 1: and so that's reflected in the clothes that she can afford.

503
00:24:04,200 --> 00:24:07,920
Speaker 1: In season four, she's wearing custom made suits and that

504
00:24:08,000 --> 00:24:11,920
Speaker 1: to me feels like power. It's really sexy as well suiting.

505
00:24:12,359 --> 00:24:15,000
Speaker 1: What she's doing with her clothes is letting the people

506
00:24:15,040 --> 00:24:17,760
Speaker 1: around her know not to mess with her. Like she

507
00:24:17,920 --> 00:24:20,479
Speaker 1: I'm the boss. I'm quite literally wearing the pants and

508
00:24:20,520 --> 00:24:22,440
Speaker 1: the skirt and the suit and the you know what

509
00:24:22,480 --> 00:24:25,720
Speaker 1: I mean, when I slip into those hy s L pumps,

510
00:24:27,560 --> 00:24:31,040
Speaker 1: like something changes in me. Yes, changes.

511
00:24:31,400 --> 00:24:33,160
Speaker 2: They talk about it even in drama school, they talk

512
00:24:33,160 --> 00:24:35,280
Speaker 2: about footwear. Oh, you know what I mean, when you

513
00:24:35,280 --> 00:24:38,280
Speaker 2: go even in rehearsals, like you were play, you got

514
00:24:38,280 --> 00:24:41,160
Speaker 2: to wear the footwear of the choo, the person that's

515
00:24:41,280 --> 00:24:43,920
Speaker 2: that's that you're playing. I couldn't agree more. I did

516
00:24:43,920 --> 00:24:46,359
Speaker 2: a thing where I've played the psychopath and.

517
00:24:47,920 --> 00:24:48,400
Speaker 1: I did the same.

518
00:24:49,359 --> 00:24:52,320
Speaker 2: Yeah, And it was hard for me to get It

519
00:24:52,359 --> 00:24:54,080
Speaker 2: was like a carried I was like, I this is

520
00:24:54,440 --> 00:24:56,400
Speaker 2: can I do this? Really? That was a question which

521
00:24:56,440 --> 00:24:58,040
Speaker 2: is always the thrilling one.

522
00:24:57,920 --> 00:24:59,920
Speaker 1: Not always scary in a good way.

523
00:25:00,040 --> 00:25:02,360
Speaker 2: Scary in a good way. Yeah. And he was literally

524
00:25:02,560 --> 00:25:08,119
Speaker 2: built piece by piece like this, this, this boot, this pant,

525
00:25:08,240 --> 00:25:11,359
Speaker 2: you know what I mean, this shirt, this texture, this hair,

526
00:25:11,760 --> 00:25:12,440
Speaker 2: this is a big one.

527
00:25:12,640 --> 00:25:14,679
Speaker 1: I'm already feeling ali.

528
00:25:14,320 --> 00:25:16,439
Speaker 2: And it just was like and it all came together

529
00:25:16,440 --> 00:25:18,560
Speaker 2: and then and it was working with David Lynch, who's

530
00:25:18,600 --> 00:25:21,879
Speaker 2: a genius, and so it was not and we were

531
00:25:21,880 --> 00:25:23,640
Speaker 2: both in the same way. It's like this, this says

532
00:25:23,640 --> 00:25:28,000
Speaker 2: too much, this is this is not right, this is

533
00:25:28,000 --> 00:25:31,400
Speaker 2: not authentic again, and just finding the right and the

534
00:25:31,480 --> 00:25:34,840
Speaker 2: wrong necessary for the character, the stuff that's kind of

535
00:25:35,000 --> 00:25:38,359
Speaker 2: like not just off. There was an interesting thing that

536
00:25:38,400 --> 00:25:42,240
Speaker 2: I watched. I think it was your makeup artist. I

537
00:25:42,480 --> 00:25:46,280
Speaker 2: think talking about something leaving something.

538
00:25:46,000 --> 00:25:48,440
Speaker 1: Oh yeah, yeah, yeah. I love the idea of leaving

539
00:25:48,480 --> 00:25:53,240
Speaker 1: something slightly unfinished or unpolished or like, I mean, we're

540
00:25:53,280 --> 00:25:55,760
Speaker 1: in the business of like creating a completely false reality,

541
00:25:55,880 --> 00:25:57,880
Speaker 1: Like wouldn't it be nice if there was a little texture,

542
00:25:58,040 --> 00:26:02,080
Speaker 1: you know, something, something left to be discovered. Yes, I also,

543
00:26:02,200 --> 00:26:04,520
Speaker 1: like am not in the business of like spoon. I

544
00:26:04,560 --> 00:26:07,639
Speaker 1: don't love like forcing things down an audience's throw I

545
00:26:07,960 --> 00:26:09,760
Speaker 1: want to give them the benefit of the doubt to

546
00:26:09,760 --> 00:26:13,200
Speaker 1: be creative and to be like interested in discovering things.

547
00:26:13,640 --> 00:26:16,000
Speaker 1: Industry does a really good job of that. Making Conrad

548
00:26:16,000 --> 00:26:18,720
Speaker 1: and don't like over explaining themselves. They're like, you don't

549
00:26:18,760 --> 00:26:20,679
Speaker 1: need to understand the jargon. We're not going to tell

550
00:26:20,720 --> 00:26:22,320
Speaker 1: you what it is. Figure it out. You have Google,

551
00:26:22,320 --> 00:26:24,520
Speaker 1: everyone else Google, you can figure it out.

552
00:26:24,800 --> 00:26:26,119
Speaker 2: The fact that you can say it at all is

553
00:26:26,200 --> 00:26:26,800
Speaker 2: really impressive.

554
00:26:26,800 --> 00:26:29,840
Speaker 1: Thank you. I mean, I'm still impressed honestly that I

555
00:26:29,880 --> 00:26:31,560
Speaker 1: get through some of the stuff that they make us say.

556
00:26:31,560 --> 00:26:32,159
Speaker 1: It is insane.

557
00:26:32,200 --> 00:26:34,119
Speaker 2: It's insane. It's like a medical show. Honestly, I was

558
00:26:34,160 --> 00:26:36,520
Speaker 2: making it. I was like the pit you know, you mean,

559
00:26:36,560 --> 00:26:38,760
Speaker 2: like I don't know what the hell No is saying,

560
00:26:38,800 --> 00:26:40,560
Speaker 2: but it's like, okay, and we don't care, we don't.

561
00:26:40,600 --> 00:26:44,480
Speaker 2: We just love doing something fun and it sounds so cool.

562
00:26:44,680 --> 00:26:46,840
Speaker 1: Yeah, it does sound cool. It's hard to get your

563
00:26:46,880 --> 00:26:48,639
Speaker 1: it's hard to get your your tongue and the teeth

564
00:26:48,840 --> 00:26:50,160
Speaker 1: around some of that language.

565
00:26:50,320 --> 00:26:52,600
Speaker 2: As I'm talking, as you're talking, I'm going, okay, you're

566
00:26:52,800 --> 00:26:55,160
Speaker 2: I want to see you do something, you know, create something,

567
00:26:55,359 --> 00:26:58,120
Speaker 2: do something, make something directtion. I you know, all these

568
00:26:58,160 --> 00:26:59,760
Speaker 2: kind of things that are these paths that are open

569
00:26:59,800 --> 00:27:01,879
Speaker 2: to you, because I think you you have an understanding

570
00:27:01,920 --> 00:27:03,679
Speaker 2: of so much of it, and all the things that

571
00:27:03,720 --> 00:27:07,600
Speaker 2: you're saying resonate with me in terms of like these

572
00:27:07,640 --> 00:27:10,080
Speaker 2: are this is the world, these are the these are

573
00:27:10,080 --> 00:27:12,160
Speaker 2: the elements of what we do that are really important,

574
00:27:12,600 --> 00:27:15,879
Speaker 2: I think, and therefore we'll make great, you know, things

575
00:27:15,880 --> 00:27:18,439
Speaker 2: great to watch. Are you inclined to do that? Are

576
00:27:18,480 --> 00:27:20,160
Speaker 2: you thinking, oh yeah, totally okay.

577
00:27:21,800 --> 00:27:23,359
Speaker 1: After season two of Industry, I was like, can I

578
00:27:23,400 --> 00:27:24,040
Speaker 1: drive an episode?

579
00:27:24,080 --> 00:27:27,960
Speaker 2: And they were like, hah, well, well they had now

580
00:27:28,800 --> 00:27:31,119
Speaker 2: yeah first, and then.

581
00:27:31,119 --> 00:27:32,560
Speaker 1: Yeah, there's no way we're going to let you do

582
00:27:32,600 --> 00:27:34,840
Speaker 1: it before we get into it. But yeah, I totally

583
00:27:34,920 --> 00:27:38,040
Speaker 1: have dreams and aspirations of creating my own work, and

584
00:27:38,080 --> 00:27:39,879
Speaker 1: I do it in like a really visceral way. If

585
00:27:39,920 --> 00:27:41,600
Speaker 1: you had asked me this question like three years ago,

586
00:27:41,600 --> 00:27:43,120
Speaker 1: I would have been like, heyll no, I don't want

587
00:27:43,119 --> 00:27:45,080
Speaker 1: to do that, give me the words, let me, let

588
00:27:45,119 --> 00:27:46,480
Speaker 1: me do that, let me do what I'm good at.

589
00:27:46,920 --> 00:27:49,879
Speaker 1: But as I grow and evolve and things happen in

590
00:27:49,920 --> 00:27:54,159
Speaker 1: my life, and I'm turning thirty in April, I'm maturing.

591
00:27:55,280 --> 00:27:55,920
Speaker 2: Yeah, good year.

592
00:27:55,960 --> 00:27:57,960
Speaker 1: Yeah I'm excited. I've been. I've been saying I'm thirty

593
00:27:58,000 --> 00:27:59,920
Speaker 1: for a long time because I've been just like, give

594
00:28:00,119 --> 00:28:02,919
Speaker 1: me to thirty. There are stories that I'm really passionate

595
00:28:02,960 --> 00:28:04,400
Speaker 1: about that I want to tell that I'm that are

596
00:28:04,400 --> 00:28:06,760
Speaker 1: not coming through to me from other people. So I'm

597
00:28:06,760 --> 00:28:09,440
Speaker 1: like my voice is just as singular as anyone else.

598
00:28:09,520 --> 00:28:11,960
Speaker 1: Let me let me write my story and let me

599
00:28:12,480 --> 00:28:13,840
Speaker 1: let me find a way to put it out into

600
00:28:13,840 --> 00:28:17,679
Speaker 1: the world. I'm I'm writing some things and creating some

601
00:28:17,720 --> 00:28:20,359
Speaker 1: things and looking for producers who want to pay for

602
00:28:20,359 --> 00:28:24,920
Speaker 1: someone else to But yeah, I'm very very much interested

603
00:28:25,040 --> 00:28:29,119
Speaker 1: in producing and directing one day. I think I've been

604
00:28:29,119 --> 00:28:31,040
Speaker 1: talking about this a lot this week because I've been

605
00:28:31,359 --> 00:28:34,120
Speaker 1: in LA and I'm never here and so I'm taking meetings,

606
00:28:34,200 --> 00:28:36,159
Speaker 1: but people are asking me, Oh, do you want to direct,

607
00:28:36,200 --> 00:28:38,920
Speaker 1: And I say yes, But I think I am an

608
00:28:39,000 --> 00:28:41,880
Speaker 1: actor's director in the sense that I really want to

609
00:28:42,080 --> 00:28:45,800
Speaker 1: dig into performance and character and the storytelling. In that way,

610
00:28:45,880 --> 00:28:48,360
Speaker 1: I'm going to need like a visual partner, you know

611
00:28:48,400 --> 00:28:48,719
Speaker 1: what I mean.

612
00:28:48,760 --> 00:28:51,200
Speaker 2: I'm gonna need a dop Yeah, yeah, who can do that?

613
00:28:51,480 --> 00:28:53,520
Speaker 1: Who will be like that storytelling will be cool from

614
00:28:53,600 --> 00:28:56,120
Speaker 1: the like set up. I don't know what is crossing

615
00:28:56,160 --> 00:28:56,640
Speaker 1: the line.

616
00:28:56,800 --> 00:29:00,160
Speaker 2: Yeah, I don't know, And they will help you though

617
00:29:00,240 --> 00:29:02,160
Speaker 2: we still don't know. It's one of those things. It's

618
00:29:02,200 --> 00:29:06,120
Speaker 2: like I'm not sure, but yeah that and they went

619
00:29:06,120 --> 00:29:07,800
Speaker 2: to film school and they know all the things, and

620
00:29:07,840 --> 00:29:11,160
Speaker 2: they have the lenses and It's a great idea because

621
00:29:11,160 --> 00:29:13,040
Speaker 2: then they can suggest they said, with this lines, with

622
00:29:13,120 --> 00:29:17,280
Speaker 2: this lens, this is the mood, the vibe, the feeling.

623
00:29:17,360 --> 00:29:19,080
Speaker 2: I mean, that's part of the thing about the show

624
00:29:19,200 --> 00:29:22,400
Speaker 2: is it's it's the way it's filmed. It's incredibly claustrophobic

625
00:29:22,520 --> 00:29:26,280
Speaker 2: with the frame. There's always something crossing or like you're looking,

626
00:29:26,400 --> 00:29:28,960
Speaker 2: you can't really get a clear So just choices like

627
00:29:29,000 --> 00:29:32,840
Speaker 2: that that if affect the audience on a different level level.

628
00:29:33,560 --> 00:29:35,120
Speaker 2: Those are the things that I think too. You tell

629
00:29:35,120 --> 00:29:38,800
Speaker 2: the story with the position, all the lenses and all

630
00:29:38,840 --> 00:29:40,640
Speaker 2: that kind of stuff, which I think is another level

631
00:29:41,160 --> 00:29:43,120
Speaker 2: even beyond the performance, because then the performance is something

632
00:29:43,160 --> 00:29:43,640
Speaker 2: on top of it.

633
00:29:43,760 --> 00:29:46,960
Speaker 1: Yeah, and then the edit and then the edit. Really

634
00:29:47,280 --> 00:29:50,800
Speaker 1: who said this, my husband, maybe filmmaking is the editor's

635
00:29:50,880 --> 00:29:53,960
Speaker 1: medium or something, because like we do all of this

636
00:29:54,040 --> 00:29:56,520
Speaker 1: stuff and then there's the footage and then whoever's cutting

637
00:29:56,560 --> 00:29:58,240
Speaker 1: it can create whatever they want.

638
00:29:58,600 --> 00:30:01,240
Speaker 2: You know, there are three films, right, there's a even film.

639
00:30:01,280 --> 00:30:02,440
Speaker 2: There's the one that you do, and then there's the

640
00:30:02,440 --> 00:30:04,360
Speaker 2: one you edited that you added, and they're all different,

641
00:30:04,480 --> 00:30:07,360
Speaker 2: ye know, and hopefully you have smart people all on

642
00:30:07,440 --> 00:30:09,720
Speaker 2: the way, you know what I mean. That can keep

643
00:30:09,760 --> 00:30:11,320
Speaker 2: it all together and tie it all together.

644
00:30:11,520 --> 00:30:14,760
Speaker 1: Well, it's truly a collaborative thing. It really is so

645
00:30:14,880 --> 00:30:19,320
Speaker 1: many movies, three movies, you know, and it's so important

646
00:30:19,360 --> 00:30:23,440
Speaker 1: everybody's input, everybody's vision, all the different elements that like

647
00:30:23,560 --> 00:30:25,440
Speaker 1: bring this thing together. Which is why I'm like, like,

648
00:30:25,480 --> 00:30:27,320
Speaker 1: I loved when when Ile was like, I want to

649
00:30:27,320 --> 00:30:29,520
Speaker 1: thank the assistance when she was like accepting that award,

650
00:30:29,560 --> 00:30:31,120
Speaker 1: you know what I mean. Yeah, the whole everyone is

651
00:30:31,120 --> 00:30:34,520
Speaker 1: gasping because it's true, like it takes so many, so

652
00:30:34,760 --> 00:30:37,920
Speaker 1: many people to make any of this happen. Yeah, it

653
00:30:37,960 --> 00:30:39,760
Speaker 1: took a hundred people just to get me to this

654
00:30:39,880 --> 00:30:40,280
Speaker 1: room to.

655
00:30:41,880 --> 00:30:46,800
Speaker 2: And when you get to my ages one or two, No,

656
00:30:46,920 --> 00:30:49,920
Speaker 2: my crew is right here. My team was right here. Amazing,

657
00:30:50,240 --> 00:30:52,280
Speaker 2: this doesn't happen without them, all right, So when we

658
00:30:52,320 --> 00:30:54,680
Speaker 2: come back, it's a game that we've designed. So this

659
00:30:54,760 --> 00:30:56,640
Speaker 2: is called score the.

660
00:30:56,560 --> 00:30:58,200
Speaker 1: Score, Score the Score.

661
00:30:58,280 --> 00:31:00,920
Speaker 2: Yeah, so when we come back, will explain more about

662
00:31:00,920 --> 00:31:09,440
Speaker 2: that all that we've got a game called score the Score.

663
00:31:09,440 --> 00:31:13,160
Speaker 2: I will resent you with lines or lyrics from some

664
00:31:13,240 --> 00:31:17,800
Speaker 2: of your favorite movies, musicals and songs, Okay, and then

665
00:31:17,800 --> 00:31:20,160
Speaker 2: you're gonna have to rank them without knowing which one

666
00:31:20,200 --> 00:31:22,959
Speaker 2: is coming next? So there are five. You're gonna hear

667
00:31:22,960 --> 00:31:24,960
Speaker 2: one and you're gonna say that should be, you know,

668
00:31:24,960 --> 00:31:26,960
Speaker 2: and you gotta figure out where it should be. Ok

669
00:31:27,200 --> 00:31:29,640
Speaker 2: If you are satisfied with the ranking, I will put

670
00:31:30,000 --> 00:31:35,960
Speaker 2: one of these silly accessories from Anne's daughter's hamper, right, Okay.

671
00:31:36,160 --> 00:31:38,320
Speaker 2: But if you are not satisfied as they as they

672
00:31:38,400 --> 00:31:42,880
Speaker 2: lay out, then you must have accessorized first one into

673
00:31:42,920 --> 00:31:47,520
Speaker 2: the woods musical slotted spoons don't hold much soup.

674
00:31:47,720 --> 00:31:52,080
Speaker 1: That is good. That's a good one. Maybe four, four,

675
00:31:52,280 --> 00:31:53,840
Speaker 1: let's be I like that.

676
00:31:53,880 --> 00:31:56,280
Speaker 2: Okay, so let me put it down here. This is ridiculous.

677
00:31:56,280 --> 00:31:58,720
Speaker 2: What am I doing here? I'm in the wrong story.

678
00:31:59,080 --> 00:32:00,360
Speaker 1: Is the baker's wife?

679
00:32:00,440 --> 00:32:00,680
Speaker 2: Yep?

680
00:32:01,040 --> 00:32:06,080
Speaker 1: Five? Whoa very sorry that was so fast, but I

681
00:32:06,080 --> 00:32:09,760
Speaker 1: really didn't mean to sorry. What's her name?

682
00:32:09,840 --> 00:32:14,760
Speaker 2: You don't want to be the bigger? Okay? Good to know, Okay, okay.

683
00:32:15,000 --> 00:32:17,600
Speaker 2: The difference between a cow and a bean is a

684
00:32:17,640 --> 00:32:19,800
Speaker 2: bean can begin an adventure.

685
00:32:20,040 --> 00:32:20,480
Speaker 1: That's good.

686
00:32:20,520 --> 00:32:24,760
Speaker 2: Three, three good, Okay, we're making headway. If the end

687
00:32:24,840 --> 00:32:28,520
Speaker 2: is right, it justifies it. Just If the end is right,

688
00:32:28,640 --> 00:32:29,920
Speaker 2: it justifies the beans.

689
00:32:30,480 --> 00:32:31,360
Speaker 1: That is a good one.

690
00:32:31,440 --> 00:32:31,880
Speaker 2: That's a good one.

691
00:32:31,960 --> 00:32:33,960
Speaker 1: But what could the next one be. I'm gonna go

692
00:32:33,960 --> 00:32:34,360
Speaker 1: with my gut.

693
00:32:34,440 --> 00:32:37,320
Speaker 2: That's number one, number one. Okay, I hope this one

694
00:32:37,320 --> 00:32:37,800
Speaker 2: doesn't work.

695
00:32:38,080 --> 00:32:39,040
Speaker 1: We'll trying so hard.

696
00:32:41,920 --> 00:32:45,880
Speaker 2: You could sing, Yeah, I heard while her withers with

697
00:32:46,080 --> 00:32:47,000
Speaker 2: her with her?

698
00:32:49,640 --> 00:32:51,040
Speaker 1: Okay, are you satisfied?

699
00:32:51,080 --> 00:32:51,959
Speaker 2: Are you satisfied?

700
00:32:52,040 --> 00:32:57,400
Speaker 1: Let's see that's right. Okay, I would switch while her

701
00:32:57,440 --> 00:33:00,920
Speaker 1: with her and and this isiculous. What am I doing here?

702
00:33:01,000 --> 00:33:03,680
Speaker 1: I'm in the wrong story. Yeah, so we'll switch.

703
00:33:03,680 --> 00:33:06,600
Speaker 2: That goes to the bottom. Yeah, wow, wow, I try

704
00:33:06,640 --> 00:33:08,320
Speaker 2: to pick withers. People, are you going to wear from

705
00:33:08,360 --> 00:33:08,800
Speaker 2: the basket?

706
00:33:08,800 --> 00:33:10,680
Speaker 1: And for the listeners, you're then have to describe it.

707
00:33:10,840 --> 00:33:13,040
Speaker 2: Okay from the basket.

708
00:33:13,440 --> 00:33:15,720
Speaker 1: Whatever I'm pulling out here is oh, well, this is amazing,

709
00:33:15,760 --> 00:33:18,440
Speaker 1: so it's obviously gonna be this. So just so everyone knows,

710
00:33:18,520 --> 00:33:22,680
Speaker 1: this is like as a band conductor's hat, but and

711
00:33:22,720 --> 00:33:26,440
Speaker 1: it's silver covered. In sequence, there's some large crystals on

712
00:33:26,440 --> 00:33:29,880
Speaker 1: the front and it has these like Louis Vuitton spikes

713
00:33:29,920 --> 00:33:32,080
Speaker 1: all over it. Good, so if anyone comes near me,

714
00:33:32,280 --> 00:33:33,120
Speaker 1: they're getting hurt.

715
00:33:33,200 --> 00:33:34,920
Speaker 2: Yeah, yeah, okay, these are good. So these are our

716
00:33:34,920 --> 00:33:37,920
Speaker 2: first round. Next next one, Okay, here we go.

717
00:33:38,080 --> 00:33:41,600
Speaker 1: This is Wake me Up by Evans. Oh my god,

718
00:33:41,640 --> 00:33:42,640
Speaker 1: are you trying to kill me?

719
00:33:43,160 --> 00:33:45,520
Speaker 2: Here we go in no particular order. Wake me up,

720
00:33:46,000 --> 00:33:51,959
Speaker 2: wake me up inside. That's number six of these.

721
00:33:52,000 --> 00:33:54,640
Speaker 1: Okay, there's six of these, but that one is number one.

722
00:33:54,960 --> 00:33:55,920
Speaker 2: Wake me up inside.

723
00:33:56,000 --> 00:33:57,240
Speaker 1: It's ridiculous.

724
00:33:57,440 --> 00:33:58,760
Speaker 2: I think the best thing is that I'm reading and like,

725
00:33:58,760 --> 00:34:00,520
Speaker 2: I have no idea what I'm doing. Right, it's just

726
00:34:00,600 --> 00:34:05,600
Speaker 2: very like number two, number two, number three, save me.

727
00:34:05,760 --> 00:34:07,600
Speaker 2: You guys are going to jail, call my name and

728
00:34:07,680 --> 00:34:12,320
Speaker 2: save me from the dark. Three three. This is perfect.

729
00:34:12,320 --> 00:34:15,640
Speaker 2: This is working out. Wake me up, bid my blood

730
00:34:15,680 --> 00:34:21,680
Speaker 2: to run. Okay, all right, I can't wake up before

731
00:34:21,719 --> 00:34:22,680
Speaker 2: I come undone.

732
00:34:23,040 --> 00:34:24,879
Speaker 1: God, you need to do a dramatic reading this whole.

733
00:34:25,040 --> 00:34:29,120
Speaker 2: That's what I'm going to do. Whatever was next and last,

734
00:34:29,200 --> 00:34:32,160
Speaker 2: save me, save me from the nothing I've.

735
00:34:32,040 --> 00:34:37,000
Speaker 1: Become yeap six, and then the next part this time.

736
00:34:37,040 --> 00:34:39,160
Speaker 1: I can't believe I couldn't see left in the dark,

737
00:34:39,239 --> 00:34:41,200
Speaker 1: but you would never follow me. This is perfect. This

738
00:34:41,280 --> 00:34:41,799
Speaker 1: is really good.

739
00:34:41,840 --> 00:34:43,440
Speaker 2: This is exactly this order is amazing.

740
00:34:43,480 --> 00:34:46,600
Speaker 1: This well done. I'll something like, now you've got to

741
00:34:46,640 --> 00:34:47,000
Speaker 1: put something.

742
00:34:47,080 --> 00:34:51,640
Speaker 2: I put something on Okay, great, it's good. Okay, that's

743
00:34:51,640 --> 00:34:52,120
Speaker 2: pretty good.

744
00:34:52,440 --> 00:34:54,319
Speaker 1: Now can you can you say the flight one?

745
00:34:54,400 --> 00:34:56,080
Speaker 2: Five, nine or make a right turn?

746
00:34:56,320 --> 00:34:57,760
Speaker 1: And can you say fuck bitcoin?

747
00:34:58,239 --> 00:35:02,200
Speaker 2: Fuck bitcoin? Right? Okay, here we go five of these.

748
00:35:02,480 --> 00:35:07,960
Speaker 2: Death is peaceful, easy, Life is harder.

749
00:35:07,760 --> 00:35:10,280
Speaker 1: Oh my god. And it isn't that true?

750
00:35:10,480 --> 00:35:10,760
Speaker 2: Yeah?

751
00:35:11,400 --> 00:35:13,640
Speaker 1: That is easy. Let's go four.

752
00:35:13,840 --> 00:35:16,840
Speaker 2: Four, okay, good for it is Yeah, and so the

753
00:35:16,960 --> 00:35:19,400
Speaker 2: lion fell in love with the lamb.

754
00:35:20,640 --> 00:35:23,600
Speaker 1: Let's go. That's so good. Let's go three. Just the

755
00:35:23,680 --> 00:35:26,600
Speaker 1: cases I feel like. Okay, a lot of ones are coming.

756
00:35:27,080 --> 00:35:29,720
Speaker 2: You better hold on tight, spider monkeys.

757
00:35:32,360 --> 00:35:35,200
Speaker 1: Let's go five.

758
00:35:37,440 --> 00:35:40,280
Speaker 2: How long have you been seventeen a while?

759
00:35:42,280 --> 00:35:43,279
Speaker 1: Okay? Two?

760
00:35:43,600 --> 00:35:49,800
Speaker 2: Two? Beautiful question mark. This is the skin of a killer. Bella,

761
00:35:50,040 --> 00:35:50,800
Speaker 2: I'm a killer.

762
00:35:51,040 --> 00:35:54,319
Speaker 1: I'm a killer. Yeah. Number one. That's really good. What

763
00:35:54,360 --> 00:35:56,120
Speaker 1: do you think this is the skin of a killer

764
00:35:56,160 --> 00:35:57,520
Speaker 1: bell I'm a killer.

765
00:35:57,760 --> 00:35:59,920
Speaker 2: I love that Mihal is taking you. You're really taking sir.

766
00:36:00,840 --> 00:36:03,279
Speaker 1: This is serious, Twilight, This is right. I think this

767
00:36:03,360 --> 00:36:03,600
Speaker 1: is right.

768
00:36:05,560 --> 00:36:07,600
Speaker 2: Another item for me for those of you who are listening.

769
00:36:07,760 --> 00:36:09,279
Speaker 2: I have a miss.

770
00:36:09,040 --> 00:36:12,280
Speaker 1: Universe sash Yeah, absolutely.

771
00:36:11,840 --> 00:36:15,319
Speaker 2: And a headphone like I'm a trader. Yes, all right.

772
00:36:15,320 --> 00:36:19,600
Speaker 2: These are actually from from the internet. These are so

773
00:36:19,640 --> 00:36:20,919
Speaker 2: you're not gonna know any of these. They're not they're

774
00:36:20,920 --> 00:36:23,200
Speaker 2: not singable, but they're very funny. Okay, I don't really

775
00:36:23,200 --> 00:36:25,640
Speaker 2: care what Harper Stern does. I'm sticking by her.

776
00:36:26,080 --> 00:36:29,560
Speaker 1: Yeah, me too. I feel like that's a pretty good one,

777
00:36:29,680 --> 00:36:31,520
Speaker 1: just because I feel like it's really clear and I

778
00:36:31,560 --> 00:36:35,040
Speaker 1: agree with it. So let's go too, I say too. Yeah.

779
00:36:35,800 --> 00:36:40,600
Speaker 2: On the same page, Eric accidentally organically raising a daughter

780
00:36:41,000 --> 00:36:45,000
Speaker 2: with an inferiority complex is so funny, like he didn't

781
00:36:45,040 --> 00:36:48,080
Speaker 2: even know he already had Harper Stern at home.

782
00:36:48,520 --> 00:36:54,280
Speaker 1: Oh my god, drag him read him for filth number

783
00:36:54,400 --> 00:36:56,040
Speaker 1: four please or okay.

784
00:36:55,840 --> 00:36:59,160
Speaker 2: For it is Harper Stern. Your alpha swag is too hard,

785
00:36:59,360 --> 00:37:02,360
Speaker 2: your girl is too bad, your body is to t

786
00:37:03,080 --> 00:37:06,879
Speaker 2: they'll kill you. Concern for your well being.

787
00:37:07,320 --> 00:37:09,800
Speaker 1: You should be because apparently the girls are coming from me. Honey.

788
00:37:10,520 --> 00:37:13,799
Speaker 1: Let's go that one's very good. Yeah, I have to

789
00:37:13,960 --> 00:37:17,520
Speaker 1: big myself up for that. That's really good. Thank you Twitter.

790
00:37:17,560 --> 00:37:19,759
Speaker 1: I'm assuming this is fighting for like one and three.

791
00:37:19,800 --> 00:37:21,439
Speaker 2: I'm not sure, right, I know that's what I was thinking,

792
00:37:21,520 --> 00:37:22,000
Speaker 2: the same thing.

793
00:37:22,280 --> 00:37:24,560
Speaker 1: Let's go three, go three. If I'm thinking about it, I.

794
00:37:24,520 --> 00:37:28,680
Speaker 2: Think it's a choice. Free Harper Stern. She did all

795
00:37:28,719 --> 00:37:33,279
Speaker 2: of it, but I don't care a number one that

796
00:37:34,360 --> 00:37:40,080
Speaker 2: oh this, Oh no, Logan Roy would have loved Harper Stern.

797
00:37:40,360 --> 00:37:42,600
Speaker 1: Yes, I have seen that one. That one's good, and

798
00:37:42,640 --> 00:37:45,359
Speaker 1: I think he would. But you know what, let's let's

799
00:37:45,360 --> 00:37:47,680
Speaker 1: open and close with strong ones. Let's put that at five.

800
00:37:47,920 --> 00:37:50,680
Speaker 1: We're gonna call it like perfect book end, okay, like

801
00:37:50,880 --> 00:37:51,399
Speaker 1: start strong.

802
00:37:51,440 --> 00:37:53,120
Speaker 2: And I just wanted me to keep putting the stuff on.

803
00:37:53,160 --> 00:37:56,000
Speaker 2: I understand, that's okay, I will do it. No, that's okay,

804
00:37:56,920 --> 00:37:59,319
Speaker 2: that's all right, that's all right. We can we can

805
00:37:59,360 --> 00:38:01,080
Speaker 2: do it to see which one is going to be,

806
00:38:01,239 --> 00:38:03,840
Speaker 2: which one is perfect? I mean, there's so many choices.

807
00:38:03,880 --> 00:38:05,680
Speaker 2: Oh I wish I could wear the broke wait I can,

808
00:38:06,080 --> 00:38:08,440
Speaker 2: well maybe because this is this is such a fun fullback.

809
00:38:09,040 --> 00:38:12,640
Speaker 1: What is that a beer bottle? Oh? He got cracked

810
00:38:12,680 --> 00:38:13,440
Speaker 1: with a beer bottle.

811
00:38:13,680 --> 00:38:15,240
Speaker 2: I got such a terrible headache.

812
00:38:15,400 --> 00:38:17,799
Speaker 1: Oh no, I'm sorry. Why do you think that is?

813
00:38:18,040 --> 00:38:20,879
Speaker 2: I don't know. I mean I was just at this

814
00:38:20,960 --> 00:38:25,000
Speaker 2: party and I you know, I asked for a glass

815
00:38:25,000 --> 00:38:28,600
Speaker 2: of wine and the guy next to me just said wine.

816
00:38:28,840 --> 00:38:32,800
Speaker 2: You know, fuck that ship and yeah, he said beers

817
00:38:32,840 --> 00:38:35,720
Speaker 2: blue ribbon, and then he hit me with a bottle.

818
00:38:36,000 --> 00:38:38,239
Speaker 2: That's bizarre, and I think he did.

819
00:38:38,800 --> 00:38:40,360
Speaker 1: Have you tried loosening your headset?

820
00:38:41,200 --> 00:38:42,680
Speaker 2: Oh my god, I hadn't even talked.

821
00:38:42,800 --> 00:38:44,520
Speaker 1: Yeah, yeah, maybe you've had It's been a long day.

822
00:38:44,560 --> 00:38:45,840
Speaker 2: But how am I going to trade?

823
00:38:45,880 --> 00:38:48,000
Speaker 1: If I i'm here, I'll help you.

824
00:38:48,040 --> 00:38:48,600
Speaker 2: Will you help me?

825
00:38:48,760 --> 00:38:50,600
Speaker 1: Because I get it straight from.

826
00:38:52,560 --> 00:38:55,359
Speaker 2: I don't need this, you don't need it. I'm gonna

827
00:38:55,400 --> 00:38:59,279
Speaker 2: do it. I'm gonna do it. But I'm nervous. That

828
00:38:59,400 --> 00:39:01,360
Speaker 2: was fun, was really so I'm excited. So tell me

829
00:39:01,360 --> 00:39:03,280
Speaker 2: a little bit. So the next what's up? What's coming

830
00:39:03,520 --> 00:39:05,720
Speaker 2: for you? Yeah? Which can we expect?

831
00:39:06,040 --> 00:39:08,560
Speaker 1: Well, if we've got any producers or studios listening, I'm

832
00:39:08,560 --> 00:39:12,400
Speaker 1: free as a bird, Okay. I am ready to audition.

833
00:39:12,760 --> 00:39:15,160
Speaker 1: I'm ready to hit the streets and take these meetings.

834
00:39:15,280 --> 00:39:17,240
Speaker 1: I'm kidding. I mean, I'm not kidding. I am available.

835
00:39:17,239 --> 00:39:19,279
Speaker 1: But I do have a film, a film that's just

836
00:39:19,320 --> 00:39:21,680
Speaker 1: come out in January called dead Man's Wire, which is

837
00:39:21,680 --> 00:39:26,360
Speaker 1: a Gus van Sant Yes, yes, starring Daker Montgomery and

838
00:39:26,920 --> 00:39:27,799
Speaker 1: Bill Scart's guard.

839
00:39:28,040 --> 00:39:33,080
Speaker 2: Okay, and that's exciting. Gus. The experience must have been

840
00:39:33,120 --> 00:39:33,839
Speaker 2: just extraordinary.

841
00:39:33,960 --> 00:39:36,239
Speaker 1: Yeah, he's lovely. Have you worked with that.

842
00:39:36,320 --> 00:39:37,239
Speaker 2: I've never worked with him.

843
00:39:37,280 --> 00:39:37,879
Speaker 1: Have you met him?

844
00:39:38,000 --> 00:39:38,759
Speaker 2: I've not met him.

845
00:39:38,880 --> 00:39:40,239
Speaker 1: Oh, you guys would get on.

846
00:39:40,400 --> 00:39:42,640
Speaker 2: I feel like, yeah, I feel there's a kinship there.

847
00:39:42,800 --> 00:39:45,600
Speaker 1: Yeah, totally. So that's come out, which I think is

848
00:39:45,800 --> 00:39:49,720
Speaker 1: in theaters now and in March on the twenty seventh,

849
00:39:49,960 --> 00:39:52,879
Speaker 1: in theaters everywhere. I'm in a movie called They Will

850
00:39:53,000 --> 00:39:57,640
Speaker 1: Kill You, starring Miss Zozzi beats Oh and putrish r

851
00:39:57,760 --> 00:40:02,879
Speaker 1: Catch and Tom felt It and me and directed by

852
00:40:03,440 --> 00:40:06,279
Speaker 1: and me, directed by caill So Clop. That one is

853
00:40:06,320 --> 00:40:09,000
Speaker 1: super duper fun. It's like a kill bill sort of

854
00:40:09,239 --> 00:40:11,960
Speaker 1: culty thriller, slasher fun movie.

855
00:40:12,040 --> 00:40:14,680
Speaker 2: Yeah. Yeah, oh that sounds great, which is just so

856
00:40:14,680 --> 00:40:17,000
Speaker 2: so good. And Zassie is amazing.

857
00:40:17,160 --> 00:40:20,200
Speaker 1: Yeah, it was a really really great cast and super

858
00:40:20,239 --> 00:40:24,520
Speaker 1: duper fun. We shot in South Africa, which is awesome. Wow,

859
00:40:24,800 --> 00:40:28,000
Speaker 1: the crews there are amazing. Shout out South African Cruise there.

860
00:40:28,480 --> 00:40:31,120
Speaker 2: Cool, thank you? Okay, good? Well yeah, and I'm just

861
00:40:31,160 --> 00:40:32,879
Speaker 2: gonna be much much more. I'm so excited to watch

862
00:40:32,920 --> 00:40:35,799
Speaker 2: what you do as your career continues to unfold. It's

863
00:40:35,800 --> 00:40:39,080
Speaker 2: really exciting. I love chatting with you. Well, that's all

864
00:40:39,080 --> 00:40:41,040
Speaker 2: we have today, That's that's our show. What Are We

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Speaker 2: Even Doing? Did we figure out what are we Doing?

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Speaker 2: I don't think we really did. We made a try.

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Speaker 1: Whatever we're doing, I'm loving it.

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Speaker 2: There you go, there's the angel ladies and Gentleman. Thanks everybody.

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Speaker 2: What Are We Even Doing is a production of iHeartMedia

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Speaker 2: and the Elvis Duran podcast Network, hosted by me Kyle

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Speaker 2: McLachlin and created and reduced by Full Picture productionists Yay,

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Speaker 2: featuring music by Yata and artwork by Danica Robinson. For

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Speaker 2: more information about the podcast, please visit our Instagram and

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Speaker 2: TikTok at wawed with Kyle. Please rate, review, and subscribe

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Speaker 2: to What Are We Even Doing on Apple, Spotify, YouTube,

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Speaker 2: or anywhere you get your podcasts. Exclamation point