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Speaker 1: Bookmarked by Reese's book Club is presented by Apple Books.

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Speaker 2: Hi.

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Speaker 1: I'm Danielle Robay and welcome to Bookmarked by Riese's book Club.

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Speaker 1: This week we're talking about Something Monstrous with Maggie Jillenhall.

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Speaker 3: This book about monsters and men and God. And you know,

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Speaker 3: I love the book. I think the book is incredible.

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Speaker 3: But I guess they started to fantasize what if Mary

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Speaker 3: Shelley had some other things she wanted to say, like

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Speaker 3: what would they be? And were they unpublishable in eighteen twenty?

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Speaker 3: You know, were they as you know, as we say

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Speaker 3: in the movie, unthankful?

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Speaker 1: But first, it's the first Tuesday of the month, so

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Speaker 1: you know what that means.

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Speaker 4: It's time to announce the Reese's book Club pick for March.

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Speaker 1: And you know who's here to take it away, Queen

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Speaker 1: of the book Club.

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Speaker 4: Hi Reese.

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Speaker 5: Hey, everybody, it's Reese.

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Speaker 6: I want to tell you about our March book Club pick.

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Speaker 6: It's called Lady Tremaine by Rachel Hawkhauser and it is

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Speaker 6: a fascinating retelling of the Cinderella story from the evil

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Speaker 6: stepmother's point of view, except maybe she's not really evil.

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Speaker 4: It's all the way you look at it.

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Speaker 6: I love this interpretation and I think you'll really enjoy

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Speaker 6: this book.

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Speaker 1: Oh I cannot wait to get into this book. Stay

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Speaker 1: tuned for a sneak peek from the author, Rachel Hawkhauser

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Speaker 1: at the end of this episode. Welcome back to Bookmarked

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Speaker 1: by Reese's Book Club. Maggie Gyllenhaal's new movie, The Bride

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Speaker 1: is out on March sixth, and this isn't just a

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Speaker 1: retelling of the Bride of Frankenstein. It's a whole reimagining.

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Speaker 1: What if the Bride had a mind of her own?

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Speaker 1: What if the story actually revolved around her needs and

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Speaker 1: her agency? And what if we could actually learn something

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Speaker 1: from the Bride?

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Speaker 4: What if this.

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Speaker 1: Woman, who we've been told is a monster could teach

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Speaker 1: us how to embrace even the darkest, most chaotic parts

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Speaker 1: of ourselves. So if you're ready to get a little messy,

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Speaker 1: you are in the right place. Let's turn the page

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Speaker 1: with Maggie Gyllenhaal. Maggie, welcome to the club.

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Speaker 3: Thank you.

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Speaker 4: You've been in this.

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Speaker 1: Business for so many years, and you've brought some roles

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Speaker 1: to life, both on screen and behind the camera, that.

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Speaker 4: We all know and love.

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Speaker 1: Less known, though, is that you are a literature major

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Speaker 1: in college. Is there a piece that you read in

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Speaker 1: college that has stayed with you to this day or

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Speaker 1: even informed how you've taken on roles.

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Speaker 4: That is such a good question.

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Speaker 3: There's a Jean Rhys book book called Good Morning, Midnight that

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Speaker 3: I read in college that I mean, this is just

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Speaker 3: the first thing that comes to mind when you ask

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Speaker 3: me this. I've read so many books in college and

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Speaker 3: then also didn't read so many books that I should

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Speaker 3: have read that book. Actually, it's about a woman. It's

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Speaker 3: written by a woman. It's about a woman in the

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Speaker 3: thirties who probably used to have a little bit of

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Speaker 3: money and doesn't have is just really found herself on

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Speaker 3: really hard times. And you just spend maybe a week

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Speaker 3: with her wandering around Paris thinking about being alive and

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Speaker 3: what it means. But the way that she thinks about

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Speaker 3: it is she's thinking about what color she might dye

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Speaker 3: her hair and whether or not she can manage to

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Speaker 3: buy a new dress. It's funny, it sounds very trite,

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Speaker 3: but it's really such a brilliant book but also feels

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Speaker 3: so feminine to me, Like I think it resonated with

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Speaker 3: me because for so many years there's so few books

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Speaker 3: that got published that were written by women, and that's

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Speaker 3: one that has just a feminine voice, as a feminine vibe,

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Speaker 3: and so it spoke to.

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Speaker 1: Me based on this film, I feel like that tracks.

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Speaker 1: There's so many feminist messages in your movie. I think,

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Speaker 1: you know, you'd be hard pressed to find someone who

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Speaker 1: is in at least a little bit familiar with Frankenstein

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Speaker 1: as a story. But one of my favorite parts of

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Speaker 1: Frankenstein is actually how it came to be so Mary

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Speaker 1: Shelley wrote it as a dare basically and revolutionized the

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Speaker 1: genre of science fiction. How did the way Frankenstein came

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Speaker 1: to be written inspire how you wrote the script?

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Speaker 3: What happened is that I hadn't read Frankenstein, even though,

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Speaker 3: as you say, I'm a literature major. This sort of

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Speaker 3: seems like I should have. Maybe I was supposed to,

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Speaker 3: but I never did. I was trying to think about

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Speaker 3: what I wanted to work on next after The Lost Daughter,

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Speaker 3: and I saw this guy at a party with a

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Speaker 3: tattoo of the Bride of Frankenstein on his entire forearm.

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Speaker 3: I mean, that's a major commit right to a character,

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Speaker 3: to an image, and I was like, right, who is

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Speaker 3: that again? And I went and looked her up. I mean,

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Speaker 3: I knew it was The Bride of Frankston because everybody

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Speaker 3: knows that, but like, why, you know, they went and

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Speaker 3: looked her up, and I thought, right, right, it's kind

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Speaker 3: of amazing image, such an amazing look. And then I

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Speaker 3: watched the movie, which I had never seen, and I

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Speaker 3: realized she's not really in the movie. She's in it

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Speaker 3: for two minutes at the end, and Elsa Lenchester, who

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Speaker 3: plays her, does also play Mary Shelley in the beginning,

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Speaker 3: but aside from that, she's literally in the movie for

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Speaker 3: two minutes and she doesn't say one word. And I

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Speaker 3: was like, wow, this movie has the wrong title, Like

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Speaker 3: I was expecting a lot more Bride than The Bride

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Speaker 3: of Frankenstein. But somehow those two minutes made a major

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Speaker 3: impact on our culture. And I think it's because she

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Speaker 3: wakes up having been brought back from the dead without

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Speaker 3: being asked if she wants that, you know, without being

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Speaker 3: told what she's doing anywhere, and just without saying any words.

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Speaker 3: She just communicates absolutely no, you know. And I think

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Speaker 3: in nineteen thirty six when the movie came out, that

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Speaker 3: must have been pretty radical and even now. Then I

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Speaker 3: went read the book. Before I knew exactly what the

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Speaker 3: puzzle was. I went read the book and I was like, okay, interesting, right.

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Speaker 3: I thought, Okay, there's this lovely man, monster whatever you

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Speaker 3: want to call him, Frankenstein, who yes he's violent, yes

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Speaker 3: he's full of rage, but he's also so vulnerable, so

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Speaker 3: so lonely, and so this guy really needs someone to

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Speaker 3: be with him and thinks it could only be another

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Speaker 3: monster and just keeps asking everyone in the book, you know,

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Speaker 3: or asking doctor Frankston please please make me a mate.

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Speaker 3: Then I understood the puzzle for the movie, which was

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Speaker 3: basically like, okay, fair enough, fair enough, need, fair enough question.

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Speaker 3: I understand him, but what about her? You know, what

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Speaker 3: about this random person who's going to be brought back

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Speaker 3: from the dead. That's kind of a problem with this

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Speaker 3: ask in the scenario. So in asking, in trying to

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Speaker 3: take that puzzle apart, which I thought made for like

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Speaker 3: pretty interesting dramatic situation, I thought, well, what about Mary Shelley, Like,

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Speaker 3: is this this book about monsters and men and God?

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Speaker 3: And you know, I love the book. I think the

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Speaker 3: book is incredible, But I guess I started to fantasize

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Speaker 3: it started to creep up in my mind. What if

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Speaker 3: Mary Shelley had some other things she wanted to say,

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Speaker 3: like what would they be? And were they unpublishable in

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Speaker 3: eighteen twenty, you know, were they as you know, as

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Speaker 3: we say in the movie unthinkful, couldn't even think them?

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Speaker 3: And what might those things have been? And could we

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Speaker 3: make a movie about that? You know, That's kind of

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Speaker 3: how I got in.

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Speaker 1: I'm bursting with twelve questions based on what you just said.

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Speaker 4: The first is.

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Speaker 1: Anybody who sees this movie will see how much love

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Speaker 1: you and the cast put into it. It is a film,

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Speaker 1: and so in thinking about what words you wanted to

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Speaker 1: share with people, what themes choice was a big theme

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Speaker 1: that came up for me watching it. Did you draw

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Speaker 1: from your personal experiences like artistically feeling muzzled or not

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Speaker 1: being able to say what you wanted to say?

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Speaker 4: You're nodding, yeah.

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Speaker 3: I think I yes, I did draw from so many

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Speaker 3: personal experiences, my own heart, my own mind. You know,

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Speaker 3: it's very personal in all sorts of ways. And I

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Speaker 3: think that's true for as you say, a lot of

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Speaker 3: other people who who put themselves on the line in

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Speaker 3: the movie, like for Jesse for Christian, for Penelope, for

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Speaker 3: not for Peter, even for my cinematographer, my designer, my

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Speaker 3: costume designer. You know, everybody's kind of saying. I mean,

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Speaker 3: if the movie is in the territory of is there

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Speaker 3: a part of you that's monstrous or that feels monstrous?

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Speaker 3: There's a part is there a part in you that

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Speaker 3: feels like a miss fit that cannot always fit inside

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Speaker 3: the box we're asked to fit into? Like can we

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Speaker 3: be brave enough to look at those monstrous parts, to

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Speaker 3: look at those wild child parts, to look at those

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Speaker 3: parts that we've been told aren't allowed into the conversation?

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Speaker 3: And I guess I imagine, and I could certainly be

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Speaker 3: wrong about this, but I imagine that everybody feels that way.

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Speaker 3: Sometimes I certainly do, and like there are things that

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Speaker 3: I want to express that, like Mary Shelley says, are

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Speaker 3: almost unthinkable, but when you express them, I have found, honestly.

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Speaker 2: And like.

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Speaker 3: In a kind of friendly way, you know, I don't know.

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Speaker 3: I think a lot of people kind of reach out

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Speaker 3: and say, oh, I know what you mean.

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Speaker 1: That that feeling of I know what you mean is

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Speaker 1: going to come up for women in particular. I think

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Speaker 1: watching this film. I had it multiple times. One of

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Speaker 1: my favorite lines of the movie is actually one of

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Speaker 1: the last ones. Someone references the Bride and Her Frankenstein,

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Speaker 1: which feels like a real intentional shift away from the

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Speaker 1: classic you.

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Speaker 3: Know where that comes from, And yes, that was totally

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Speaker 3: my intention. But the end of Romeo and Juliet says,

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Speaker 3: and I think I think she says it in the

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Speaker 3: in the in the movie. Let's see if I can

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Speaker 3: just recall it right now. Never was there that of

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Speaker 3: Juliet and her Romeo. Never was there a tale so

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Speaker 3: full of woe as that of Juliet and her Romeo.

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Speaker 3: And I heard it just like how you're saying. I

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Speaker 3: watched Romeo Juliet recently and I was like, wow, is

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Speaker 3: it Juliette's This is Juliette's play. And so then when

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Speaker 3: I was writing, I thought, oh, wouldn't it be so

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Speaker 3: great if we could do that too, Because you're right,

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Speaker 3: You're right the movie. I mean, I'm asked on the

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Speaker 3: street sometimes like, oh, you made Frankenstein. I'm so excited

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Speaker 3: for Frankenstein, and I just as sweetly as possible, I say, well, yeah, actually,

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Speaker 3: it's the Bride of Frankenstein. You know, and ultimately it's

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Speaker 3: just The Bride.

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Speaker 4: I think it's so cool what you've done.

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Speaker 1: You know, Jessie's character can't remember her name for much

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Speaker 1: of the movie. Did you feel like she was trying

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Speaker 1: to reclaim who she was or she was starting anew?

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Speaker 3: I don't know if I answered that. I think it's funny.

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Speaker 3: She's born reinvigorated is the word we use. She's reinvigorated,

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Speaker 3: brought back to life without any memory, but she has

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Speaker 3: a kind of like muscle memory. She has a kind

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Speaker 3: of instinctive memory, and in fact, there do come times

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Speaker 3: where where real memories pop through. It's an imperfect science

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Speaker 3: bringing people back to life, even like with the sex

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Speaker 3: and the movie, the sexuality in the movie, she she

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Speaker 3: starts out, I think this is fine to talk about

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Speaker 3: because there's a sort of cold open in the movie.

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Speaker 3: We definitely have to kill someone off in order for

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Speaker 3: her to be brought back to life, you know, so

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Speaker 3: that you get to see her a little bit before

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Speaker 3: she becomes the Bride, and she plays a character who's

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Speaker 3: basically an escort, and so her relationship to sex and

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Speaker 3: sexuality is I think it's like a painful place for her.

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Speaker 3: I think it's a place where she wasn't able to

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Speaker 3: be herself, express herself, say no, say in fact, yes please,

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Speaker 3: you know she's just really it's I think that's like

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Speaker 3: a wounded part of her. And so then later when

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Speaker 3: a different kind of romance and love and sexuality is offered,

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Speaker 3: she's not quite ready for it. It takes she goes

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Speaker 3: back into a kind of muscle memory way of doing

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Speaker 3: doing it, and it isn't what Frankenstein wants. He wants connection.

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Speaker 3: I think it's a combination. I mean, she's not a baby,

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Speaker 3: you know, she's born as a woman, which is a

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Speaker 3: really really interesting idea. It almost reminds me of a Fena,

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Speaker 3: you know, who they say is born like full grow

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Speaker 3: not in her father's head.

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Speaker 4: Yes, I love that.

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Speaker 3: So the bride is born as a woman and she

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Speaker 3: does not have It was important to both Jesse and

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Speaker 3: I that she not have that kind of like cute

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Speaker 3: childish way of being. She's a grown up and she

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Speaker 3: has grown up needs and that is not what Frankenstein

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Speaker 3: was expecting. And I will say, can I just say,

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Speaker 3: for all the book enthusiasts out there, I just call

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Speaker 3: him Frankenstein. I do not call him Frankenstein's monster because

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Speaker 3: he would never call himself that and so, and we

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Speaker 3: sort of explained that in the movie, but just for

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Speaker 3: this so.

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Speaker 1: For listeners, yeah, thank you for sharing that. I mean,

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Speaker 1: the original Bride film from nineteen thirty five was considered

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Speaker 1: pretty subversive.

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Speaker 4: I think that it.

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Speaker 1: Can be read as like, she rejects Frankenstein, and I

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Speaker 1: think it could be read as rejecting ideals around womanhood.

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Speaker 1: How are you carrying on the legacy of that in

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Speaker 1: this film?

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Speaker 4: The ideals of womanhood?

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Speaker 3: I mean, honestly, I don't think that that really major

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Speaker 3: issue of her, her mind, her needs, her agency, is

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Speaker 3: dealt with at all in the first movie. I mean,

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Speaker 3: I think it just wasn't what was on the filmmaker's minds. Okay,

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Speaker 3: that's okay, other cool things are on their minds. And

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Speaker 3: it's basically a Frankenstein sequel, you know.

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Speaker 1: Do you think that it seeped in by accident, because

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Speaker 1: like you could from a feminist perspective, you could watch

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Speaker 1: it and be like, oh, she doesn't have a voice,

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Speaker 1: she doesn't have a name.

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Speaker 3: Absolutely, and that was certainly a lot of what inspired me.

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Speaker 3: But also it's Elsa Lanchester. It's the actress. And this

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Speaker 3: is interesting. If no women and I know there are

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Speaker 3: exceptions to this role, but basically no women were making

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Speaker 3: movies then as directors. Then if you were a filmmaker,

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Speaker 3: if you were a storyteller, if you had a mind

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Speaker 3: and you wanted to express it in that way, you

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Speaker 3: were an actress. And so maybe, and that's also how

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Speaker 3: I expressed myself for so long until I felt like, wait,

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Speaker 3: hold on, maybe there's a little bit more here. But

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Speaker 3: so I think Elsa Lanchester puts that in and I

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Speaker 3: think she is the reason why you can say, oh wait,

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Speaker 3: this woman is so formidable, such a bad ass, even

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Speaker 3: though she's in it for two minutes and doesn't speak,

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Speaker 3: that someone would tattoo her face on his arm. You know.

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Speaker 1: I was thinking watching Jesse that an actor or an

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Speaker 1: actress or actor that was not as seasoned as Jesse

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Speaker 1: could have ruined this film, Like you needed somebody as

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Speaker 1: nuanced as Jesse to like really make this work. And

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Speaker 1: one of the things I guess I wasn't expecting was

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Speaker 1: sort of this line between beauty and horror that I

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Speaker 1: think you guys walked in a very cool way.

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Speaker 4: How did you see it intersect?

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Speaker 3: Well, I think one of the things that's so incredible

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Speaker 3: about Jesse Buckley, who I count as absolutely a partner

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Speaker 3: in this and what appeals to me about her work

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Speaker 3: so much in my last film too, is that she

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Speaker 3: she knows that to really express, you know, the experience

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Speaker 3: of a human being, you have to put the whole

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Speaker 3: spectrum in. You have to have the beauty, you have

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Speaker 3: to have the ugliness, you have to have the intelligence,

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Speaker 3: you have to have the irrational you know, stupidity. You

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Speaker 3: have to have all of it. The fierceness and the vulnerability.

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Speaker 3: All of that exists in us. I mean, all of

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Speaker 3: that exists in me anyway. And I'm making the movie,

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Speaker 3: so I want I want all of it. I want

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Speaker 3: all of it, and she and she offers all of it.

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Speaker 3: So in terms of the aesthetic, I wanted that too.

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Speaker 3: I wanted there to be times where, you know, they're

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Speaker 3: both really monstrous and ugly and times where they're irresistibly beautiful,

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Speaker 3: you know, and also things that are provocative and new.

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Speaker 3: Can you think of beauty in a new way? You know?

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Speaker 3: You come to see at one point that she has

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Speaker 3: a black breast, that the ink dripped all over her body,

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Speaker 3: not just her face to me, it's so beautiful, you know,

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Speaker 3: and that even that mark on her face is very unusual.

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Speaker 3: But we chose it because we thought it was both

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Speaker 3: ugly and beautiful at the same time.

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Speaker 1: Was there an overarching question that you were trying to

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Speaker 1: answer while making this film?

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Speaker 3: Well, I was thinking about when I first started making it.

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Speaker 3: I was thinking about monstrousness, I see. And I think

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Speaker 3: it's such an interesting time for this movie to be

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Speaker 3: coming out, with the Epsteine Files and Giselle Pellico's book

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Speaker 3: coming out and her talking a lot, and so many

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Speaker 3: other things. But I was thinking about monstrousness. And I

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Speaker 3: was thinking, of course about the ways that there is

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Speaker 3: monstrousness really around us right now, we can feel it

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Speaker 3: outside of us. But also what I was more interested in,

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Speaker 3: in fact, was the monstrousness inside of each of us,

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Speaker 3: which I believe is inside of each of us. And

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Speaker 3: I was curious because it was something I was just

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Speaker 3: curious about in myself. WHOA that's scary to think about.

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Speaker 3: WHOA that's dark. You know, you can spend your life

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Speaker 3: running from those things, or you can turn around and

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Speaker 3: shake hands with them. And I was in the process

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Speaker 3: of kind of going like I think I wanted to

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Speaker 3: turn around with them, and so then I was like

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Speaker 3: making a movie about monsters, and my question was one

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Speaker 3: of the questions was if I'm honest about that and

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Speaker 3: I tell my story about monsters, really dealing in something truthful,

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Speaker 3: and I do it in a way that's pop, that's hot,

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Speaker 3: that's like getting on a roller coaster, Like if I

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Speaker 3: tell the truth, will people respond?

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Speaker 1: Like?

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Speaker 3: I guess the question is is there a kind of

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Speaker 3: maybe not universal truth because I'm finding it doesn't seem

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Speaker 3: like it, but is there Like the last Daughter, we

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Speaker 3: did it in a tiny way. We told the truth

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Speaker 3: about being a mother or having a mother, and we

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Speaker 3: were very honest, and it hit like a little tiny vein.

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Speaker 3: I felt it happened, and I thought, well, okay, what

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Speaker 3: happens if I do it in a big way, in

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Speaker 3: a pop way, does it hit a bigger vein? What

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Speaker 3: does that look like? You know? And that's one major

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Speaker 3: overarching question which I haven't answered yet.

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Speaker 1: I think that's cool, I tell me if I'm like

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Speaker 1: misinterpreting you. But part of me felt when you shared

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Speaker 1: that that you were like, can I feed people broccoli

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Speaker 1: with like with their French fries? Like can I take

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Speaker 1: this mega pop Frankenstein well known sort of like legacy

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Speaker 1: and give people some feminism and some real things to

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Speaker 1: think about.

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Speaker 3: It depends what the truth feels like to you to consume,

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Speaker 3: because to me, the truth is really hot and the

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Speaker 3: truth and that's that's true in the movie too, like

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Speaker 3: they don't actually get to me together until the truth

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Speaker 3: comes out, right, right, So so he.

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Speaker 4: Really has a hard time with it.

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Speaker 3: Right because he's terrified and the truth is terrifying. But

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Speaker 3: at the same time, what is a horror movie? Is

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Speaker 3: a horror movie like, ah, blood scary? It's like not

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Speaker 3: really scary. I'm not scared. I'm talking like real truth.

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Speaker 3: You know. Is that is that broccoli? Or is that

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Speaker 3: the hottest, the sickest, the scariest. I mean, it's like

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Speaker 3: Mary Shlley says in the very beginning of the movie,

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Speaker 3: you know, May is it a horror story? Is it

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Speaker 3: a ghost story? Or is it the most terrified thing?

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Speaker 3: Which is a love story? You know? I mean, I

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Speaker 3: am trying to you know and like and yet the

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Speaker 3: movie is also a roller coaster. You know, you saw it.

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Speaker 3: It's not like, Okay, let's go to his three class

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Speaker 3: or something. You know, it's like you strap in and

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Speaker 3: then it's got. It goes fast and hot, and I

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Speaker 3: think that goes with truth personally. I don't know see

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Speaker 3: what other people think.

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Speaker 1: I agree with you, and I think like the overarching

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Speaker 1: theme is of this interview is that the truth is hot,

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Speaker 1: which I love.

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Speaker 4: I think that.

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Speaker 1: I don't know that I've ever interviewed a director who

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Speaker 1: wrote their script. I think that's so cool and very unique.

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Speaker 1: What was it like directing your own script? Like I'm

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Speaker 1: wondering if when things came to life, if anything changed

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Speaker 1: for you, if they if it all kind of went

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Speaker 1: the way you envisioned as you were writing it.

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Speaker 3: I've only ever directed my own scripts, uh the last

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Speaker 3: daughter in this I've been sent to other people's scripts,

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Speaker 3: and I it scares me, actually because I think I

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Speaker 3: know this so in my bones. You know, I guess

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Speaker 3: you would get there with someone else's script, but really,

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Speaker 3: you know, so much of it is about starting from

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Speaker 3: a seed and how to express it. Things surprised me

396
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Speaker 3: all the time, and I have some things to say

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Speaker 3: about that, which is like when I was an actress.

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Speaker 3: I'm still an actress, but just haven't done it in

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Speaker 3: a while. I would often work with directors who had

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Speaker 3: decided how they wanted to seem to play, what they

401
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Speaker 3: wanted to be expressed in their minds alone in their

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Speaker 3: rooms before any of the actors got to set. And

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Speaker 3: I often thought, and I think this is very If

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Speaker 3: you ask most actors, I think they have this experience,

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Speaker 3: you know, I think like, well, don't you want my mind?

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Speaker 3: I mean, wouldn't this movie be better with a combination

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Speaker 3: of many people's minds coming together tell his story? You're

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Speaker 3: still in charge, you still get to choose what you

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Speaker 3: want to put in the movie and how you want

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Speaker 3: it to work. But is like a coalescing of of

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Speaker 3: many minds, it's more interesting. And so I mean when

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Speaker 3: I then started to direct, it was very important to

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Speaker 3: me to make space for the other people working with

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Speaker 3: me to express themselves, which means I'm surprised all the time,

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Speaker 3: which means that there's definitely things that were that are

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Speaker 3: expressed so differently than I imagined. And sometimes I'm like,

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Speaker 3: it freaks me out a little at first, and I

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Speaker 3: have to sort of go, oh, okay, okay, if you

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Speaker 3: can change your mind, it means you have a mind,

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Speaker 3: you know. So I was often surprised And the other

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Speaker 3: thing I'll say in answer to that is cinematically, the

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Speaker 3: scope was so big and there was so much I

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Speaker 3: was learning about the tools and that cinematic language that

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Speaker 3: things were constantly surprising me. It was very exciting. I

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Speaker 3: worked with Larry cher on this movie who has He's

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Speaker 3: my cinematographer, and I felt like, it's it's wild how

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Speaker 3: much I learned.

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Speaker 4: So cool?

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Speaker 1: Is that why you've decided not to act in a

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Speaker 1: little while?

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Speaker 3: Like?

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Speaker 4: Were you just so excited by all the learnings as

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Speaker 4: a director.

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Speaker 3: It's just such a bigger expression, you know. And also,

435
00:26:24,000 --> 00:26:28,480
Speaker 3: like I was talking about how sometimes as an actress,

436
00:26:28,560 --> 00:26:30,680
Speaker 3: you know, you're you come up against a block of

437
00:26:31,480 --> 00:26:34,000
Speaker 3: someone who isn't interested in your expression, and so so

438
00:26:34,280 --> 00:26:38,119
Speaker 3: much time is spent like, Okay, how do I, without

439
00:26:38,760 --> 00:26:44,320
Speaker 3: causing a stir, just protect my artistic expression and play

440
00:26:44,400 --> 00:26:47,160
Speaker 3: the game. And I have a set where nobody has

441
00:26:47,200 --> 00:26:49,320
Speaker 3: to do that, and I definitely don't have to do that,

442
00:26:49,440 --> 00:26:52,960
Speaker 3: so I don't really Not all directors are like that.

443
00:26:53,000 --> 00:26:55,120
Speaker 3: The best directors, of course, are not like that.

444
00:26:55,880 --> 00:26:59,600
Speaker 1: I will tell you, though, Maggie that most women that

445
00:26:59,640 --> 00:27:03,399
Speaker 1: I inn you that our actors allude to that experience.

446
00:27:03,440 --> 00:27:05,720
Speaker 1: They don't come out and just like, you know, give

447
00:27:05,760 --> 00:27:08,040
Speaker 1: me all the tea. But I don't know that I've

448
00:27:08,080 --> 00:27:11,480
Speaker 1: interviewed a female actor who hasn't shared that, either on

449
00:27:11,600 --> 00:27:12,399
Speaker 1: camera or off.

450
00:27:12,920 --> 00:27:15,520
Speaker 3: Well, I would be really curious because it is so

451
00:27:15,680 --> 00:27:20,040
Speaker 3: important to me to avoid that. I really hope that

452
00:27:20,240 --> 00:27:22,600
Speaker 3: no woman who's worked on a film with me has

453
00:27:22,640 --> 00:27:24,200
Speaker 3: had that experience.

454
00:27:24,400 --> 00:27:27,360
Speaker 1: Or I bet they haven't, because I find that when

455
00:27:27,480 --> 00:27:33,200
Speaker 1: actors transition to directors, they sort of switch up all

456
00:27:33,200 --> 00:27:36,200
Speaker 1: the stuff that hurt them, you know, which like makes

457
00:27:36,240 --> 00:27:38,000
Speaker 1: it a wonderful set, right.

458
00:27:38,640 --> 00:27:42,040
Speaker 3: It's not only with actors, it's with everybody. Like if

459
00:27:42,040 --> 00:27:44,719
Speaker 3: my cinematographer and I like, but I you know, one

460
00:27:44,720 --> 00:27:47,399
Speaker 3: of the things I loved was fighting with him because

461
00:27:47,480 --> 00:27:50,280
Speaker 3: maybe very much, but sometimes I'd be like, oh shit,

462
00:27:50,440 --> 00:27:53,040
Speaker 3: I have a point of view. I know exactly what

463
00:27:53,200 --> 00:27:56,240
Speaker 3: lensing I'm talking about. I know exactly where I want

464
00:27:56,240 --> 00:27:58,920
Speaker 3: to expand in IMAX. I loved it because it meant

465
00:28:00,000 --> 00:28:02,240
Speaker 3: speaking Italian. I mean not really, but you know it's

466
00:28:02,280 --> 00:28:04,320
Speaker 3: like I learned it. I'm talking to you.

467
00:28:04,040 --> 00:28:06,240
Speaker 4: You know, Yeah, you learn the language.

468
00:28:06,440 --> 00:28:09,479
Speaker 3: Yes, it is that feeling when you're a kid of

469
00:28:09,480 --> 00:28:12,760
Speaker 3: being like when I grow up, I will never let

470
00:28:12,880 --> 00:28:14,520
Speaker 3: this happen, you know, And then you get to have

471
00:28:14,560 --> 00:28:16,400
Speaker 3: your own set and you're like, yeah, no, actually really

472
00:28:16,440 --> 00:28:17,760
Speaker 3: I'm not going to let this happen.

473
00:28:18,359 --> 00:28:19,680
Speaker 4: Yeah, I really.

474
00:28:19,480 --> 00:28:24,080
Speaker 3: Fight for that. If you're going against the grain, which

475
00:28:24,119 --> 00:28:27,639
Speaker 3: I often am, if you're a salmon swimming upstream, like

476
00:28:27,680 --> 00:28:30,400
Speaker 3: you have to fight to do it in a different way.

477
00:28:30,840 --> 00:28:33,760
Speaker 1: I'm curious, though, like this sort of ties into a

478
00:28:33,800 --> 00:28:36,879
Speaker 1: theme of the film, which is, like women who refuse

479
00:28:36,920 --> 00:28:40,760
Speaker 1: to comply? Do you think that we've progressed in how

480
00:28:40,800 --> 00:28:44,280
Speaker 1: we tell stories about women with power or women who

481
00:28:44,320 --> 00:28:47,040
Speaker 1: refuse to comply? Like, because you've been in this business

482
00:28:47,040 --> 00:28:48,720
Speaker 1: for so long, have you seen a transition.

483
00:28:50,520 --> 00:28:54,640
Speaker 3: I've thought a lot about like how women express themselves

484
00:28:54,640 --> 00:28:59,400
Speaker 3: on film and how some women and of course there

485
00:28:59,440 --> 00:29:04,080
Speaker 3: are so few female directors. Someone was interviewing me recently

486
00:29:04,080 --> 00:29:08,280
Speaker 3: and said, this past year, seven percent of films were

487
00:29:08,280 --> 00:29:10,360
Speaker 3: made by women. It might be eight percent, but it

488
00:29:10,360 --> 00:29:13,920
Speaker 3: had gone down. And yet I was thinking about it

489
00:29:13,960 --> 00:29:16,360
Speaker 3: and thinking, so many of the movies that we're talking

490
00:29:16,360 --> 00:29:21,520
Speaker 3: about right now were those seven percent. So there's something

491
00:29:21,560 --> 00:29:26,200
Speaker 3: compelling to pay about a new voice, a new perspective,

492
00:29:26,480 --> 00:29:29,920
Speaker 3: a new way of thinking and telling stories like what's

493
00:29:29,920 --> 00:29:32,160
Speaker 3: interesting to me, and where I want to put the

494
00:29:32,200 --> 00:29:36,720
Speaker 3: camera is different. Let's say, like the most black and

495
00:29:36,720 --> 00:29:39,680
Speaker 3: white example is just say, for instance, like maybe in

496
00:29:39,680 --> 00:29:42,880
Speaker 3: a love scene, where I want to put the camera

497
00:29:43,200 --> 00:29:47,400
Speaker 3: is maybe natively different than where my husband would put

498
00:29:47,400 --> 00:29:49,680
Speaker 3: the camera. I'm not sure I'm talking about like in

499
00:29:49,760 --> 00:29:53,840
Speaker 3: a film. Yeah, I think, And I think that's true

500
00:29:54,760 --> 00:30:00,080
Speaker 3: all the way through my film and in many films

501
00:30:00,120 --> 00:30:03,680
Speaker 3: I see are that are directed by women. A lot

502
00:30:03,720 --> 00:30:06,200
Speaker 3: of people have said to me or friends, you know

503
00:30:07,040 --> 00:30:11,520
Speaker 3: that the movie's really radical and that it's got a

504
00:30:11,600 --> 00:30:14,800
Speaker 3: kind of dangerous quality to it. And I don't feel

505
00:30:14,840 --> 00:30:17,640
Speaker 3: it like that. I feel it like just my movie,

506
00:30:18,120 --> 00:30:20,320
Speaker 3: you know, like so funny.

507
00:30:20,760 --> 00:30:22,520
Speaker 1: I think that gets back to what you were saying

508
00:30:22,520 --> 00:30:24,280
Speaker 1: when the truth is hot and when I felt like

509
00:30:24,360 --> 00:30:26,720
Speaker 1: you're giving people broccoli like I did kind of, I

510
00:30:26,760 --> 00:30:31,040
Speaker 1: was like, this is it still feels subversive in twenty

511
00:30:31,120 --> 00:30:33,120
Speaker 1: twenty six, but to you, you're so close to.

512
00:30:33,080 --> 00:30:34,680
Speaker 4: The material, it doesn't feel like it.

513
00:30:35,400 --> 00:30:37,880
Speaker 3: Yeah. I mean, that's like the consistent thing I get

514
00:30:37,920 --> 00:30:40,640
Speaker 3: back is feedback. I mean, I know that we're walking

515
00:30:40,680 --> 00:30:44,959
Speaker 3: a line and we're we're exploring some dangerous territory. But

516
00:30:45,240 --> 00:30:48,440
Speaker 3: you know, I'm also like, it's like a big Hollywood movie.

517
00:30:48,560 --> 00:30:51,440
Speaker 3: You know, it's like it's a party. It's a celebration

518
00:30:51,600 --> 00:30:54,920
Speaker 3: of not fitting in your box. You know what's so

519
00:30:55,040 --> 00:30:57,480
Speaker 3: radical about that? But I think that is radical to

520
00:30:57,520 --> 00:31:01,640
Speaker 3: some people. I think that my actors would say. One

521
00:31:01,680 --> 00:31:04,640
Speaker 3: thing that I hear my actors say is that I'm

522
00:31:04,680 --> 00:31:07,239
Speaker 3: always like coming up and whispering in their ear, and

523
00:31:07,280 --> 00:31:09,640
Speaker 3: that the thing that I'm whispering in their ear, which

524
00:31:09,680 --> 00:31:13,080
Speaker 3: is really really different depending on who I'm talking to

525
00:31:13,240 --> 00:31:16,720
Speaker 3: because they are so different, is usually I think it's

526
00:31:16,760 --> 00:31:20,080
Speaker 3: like it's like the way we communicate and are collaborating

527
00:31:20,120 --> 00:31:20,920
Speaker 3: while they're acting.

528
00:31:21,000 --> 00:31:23,680
Speaker 4: You know, I get why they would appreciate that.

529
00:31:24,320 --> 00:31:29,200
Speaker 3: Have you heard Mayanna Karenina? No, listen to me talk

530
00:31:29,280 --> 00:31:33,280
Speaker 3: to you for forty eight days and I don't know

531
00:31:33,360 --> 00:31:34,480
Speaker 3: how long it is.

532
00:31:34,320 --> 00:31:35,760
Speaker 4: But I love that.

533
00:31:51,080 --> 00:31:54,640
Speaker 1: This segment is brought to you in partnership with Simple Mills.

534
00:31:56,440 --> 00:31:58,640
Speaker 1: Before we get back to our conversation, I want to

535
00:31:58,680 --> 00:32:01,440
Speaker 1: talk about how to add a little extra sunshine to

536
00:32:01,600 --> 00:32:05,080
Speaker 1: your book club gatherings. And yes, of course I'm talking

537
00:32:05,080 --> 00:32:08,120
Speaker 1: about the snack. So when sharing the hottest book takes

538
00:32:08,160 --> 00:32:11,000
Speaker 1: over the perfect spread. It's all about setting the tone,

539
00:32:11,200 --> 00:32:13,840
Speaker 1: especially right now when it's still winter but you can

540
00:32:13,920 --> 00:32:17,400
Speaker 1: feel springs starting to creep in. You start imagining that

541
00:32:17,480 --> 00:32:20,920
Speaker 1: first warm day stepping outside, noticing the buds in bloom

542
00:32:21,360 --> 00:32:24,880
Speaker 1: and the pep in everyone's step. That is exactly the

543
00:32:24,960 --> 00:32:27,760
Speaker 1: kind of energy I'm bringing to my next book club gathering.

544
00:32:28,120 --> 00:32:30,440
Speaker 1: I'm hosting one soon, and when I think about the snacks,

545
00:32:30,520 --> 00:32:32,960
Speaker 1: I want a pair for this month's read I keep

546
00:32:33,000 --> 00:32:35,400
Speaker 1: going back to that feeling of stepping into the sun

547
00:32:36,080 --> 00:32:38,240
Speaker 1: when there's a lot to dig into with a good book.

548
00:32:38,280 --> 00:32:41,800
Speaker 1: I want to spread that is bright and uplifting and energizing,

549
00:32:42,240 --> 00:32:44,440
Speaker 1: kind of like the feeling of the sun, but in

550
00:32:44,480 --> 00:32:48,600
Speaker 1: a snack, which is why Simple Mills is my go to. Lately,

551
00:32:48,600 --> 00:32:51,480
Speaker 1: I've been adding their cheddar pophams and almondflour crackers to

552
00:32:51,560 --> 00:32:56,600
Speaker 1: my spread. The cheddar pophams are crunchy, cheesy and seriously stackable,

553
00:32:56,960 --> 00:32:59,320
Speaker 1: and the crackers are perfect for building an easy board

554
00:32:59,360 --> 00:33:03,680
Speaker 1: with spreads or cheese. They feel thoughtful without being complicated,

555
00:33:03,680 --> 00:33:06,000
Speaker 1: and they're exactly the kind of thing my friends keep

556
00:33:06,040 --> 00:33:09,720
Speaker 1: reaching for while we're deep in conversation. I like setting

557
00:33:09,760 --> 00:33:12,440
Speaker 1: them out before everyone arrives, so there's something welcoming on

558
00:33:12,480 --> 00:33:15,600
Speaker 1: the table right away, and without fail, someone asked me

559
00:33:16,040 --> 00:33:18,680
Speaker 1: where I found them, or sneaks a few more before

560
00:33:18,720 --> 00:33:21,160
Speaker 1: we even open the book. It just makes the whole

561
00:33:21,240 --> 00:33:23,920
Speaker 1: night feel relaxed and shared, which is really what book

562
00:33:23,920 --> 00:33:27,440
Speaker 1: club is about. For me, Simple Mills is sunshine and

563
00:33:27,480 --> 00:33:31,719
Speaker 1: snack form with hard working, nutrient dense ingredients and amazing taste.

564
00:33:32,360 --> 00:33:34,600
Speaker 1: Like a really good book, you can't wait to go

565
00:33:34,680 --> 00:33:36,960
Speaker 1: back for more and to share the obsession with all

566
00:33:37,000 --> 00:33:39,960
Speaker 1: of your friends. So, whether you're hosting your next book

567
00:33:39,960 --> 00:33:42,560
Speaker 1: club gathering or just want something that will match your

568
00:33:42,600 --> 00:33:45,640
Speaker 1: mood like a good book, find Simple Mills at your

569
00:33:45,680 --> 00:33:46,440
Speaker 1: grocery store.

570
00:33:50,840 --> 00:33:54,160
Speaker 4: Can I ask you and Anna karinnana question? Sure, it's

571
00:33:54,240 --> 00:33:55,280
Speaker 4: kind of random.

572
00:33:54,960 --> 00:33:58,520
Speaker 1: But I'm wondering if like that is it is so

573
00:33:58,720 --> 00:34:02,120
Speaker 1: long you spent so much time inside of another person's

574
00:34:02,400 --> 00:34:07,240
Speaker 1: mind and experiences. Did that help you adapt dialogue in

575
00:34:07,280 --> 00:34:08,160
Speaker 1: your own work at all?

576
00:34:08,560 --> 00:34:10,960
Speaker 3: Do you know what that helped me with directing? I

577
00:34:11,000 --> 00:34:13,399
Speaker 3: didn't know it at the time, but when you say

578
00:34:13,480 --> 00:34:16,680
Speaker 3: I spent time in someone else's minds, the mind I

579
00:34:16,800 --> 00:34:21,440
Speaker 3: was in was Tolstoy's. Because what I'm doing is like

580
00:34:21,680 --> 00:34:24,560
Speaker 3: what I think is so cool about an audiobook actually

581
00:34:24,920 --> 00:34:27,520
Speaker 3: is And I didn't know this when I started, but

582
00:34:28,080 --> 00:34:32,040
Speaker 3: I would be reading a scene between Anna and Vershinen.

583
00:34:33,320 --> 00:34:37,360
Speaker 3: And the amazing thing about Tolstoy is you're like, who's bad,

584
00:34:37,480 --> 00:34:41,600
Speaker 3: who's good? What's the morality? It's totally you have to

585
00:34:41,760 --> 00:34:44,840
Speaker 3: think and feel and assess and there's no right answer.

586
00:34:44,880 --> 00:34:47,879
Speaker 3: And oh you might hate Oblonski and think he's such

587
00:34:47,880 --> 00:34:50,000
Speaker 3: a dick in the beginning, and then later you're like,

588
00:34:50,160 --> 00:34:53,279
Speaker 3: you know who we need, we need oblog where is he?

589
00:34:53,719 --> 00:34:55,399
Speaker 3: And then he comes and you're like, you're a hero,

590
00:34:55,800 --> 00:35:00,000
Speaker 3: you know. So Tolstoy gives every character so much respect

591
00:35:01,680 --> 00:35:05,799
Speaker 3: and as I said about Jesse, all the spectrum of

592
00:35:05,880 --> 00:35:13,120
Speaker 3: human feelings, good and bad that I was acting each

593
00:35:13,160 --> 00:35:16,319
Speaker 3: of those characters and scenes together. Now, I didn't do

594
00:35:16,480 --> 00:35:19,000
Speaker 3: like weird voices. I don't know how to do that.

595
00:35:19,280 --> 00:35:24,320
Speaker 3: I just felt each of them. But it's almost like directing,

596
00:35:24,600 --> 00:35:30,400
Speaker 3: where you have to give everyone that respect and care.

597
00:35:31,040 --> 00:35:33,440
Speaker 3: That's my job, is a director. And it's quite like

598
00:35:33,600 --> 00:35:38,480
Speaker 3: I'm actually reading postboys. You know, Grata, Well.

599
00:35:38,320 --> 00:35:44,080
Speaker 1: You're making me wonder doing that audio book writing directing,

600
00:35:44,880 --> 00:35:47,680
Speaker 1: How do you decide what gets said and what gets

601
00:35:47,760 --> 00:35:48,640
Speaker 1: left unsaid.

602
00:35:49,160 --> 00:35:56,120
Speaker 3: Oh yeah, interesting. I like most things to be unsaid,

603
00:35:58,360 --> 00:36:00,880
Speaker 3: even though there's a lot of dialogue and the Bride.

604
00:36:01,560 --> 00:36:03,879
Speaker 3: One of the people that the Bride was inspired by

605
00:36:03,960 --> 00:36:05,640
Speaker 3: is someone who is very close to me in my

606
00:36:05,680 --> 00:36:08,200
Speaker 3: life who has tourettes. So there's like a kind of

607
00:36:08,360 --> 00:36:13,400
Speaker 3: verbal and what comes out, and when it's not random,

608
00:36:14,120 --> 00:36:17,399
Speaker 3: at least not with this friend of mine, it's it's

609
00:36:17,440 --> 00:36:20,880
Speaker 3: almost like a little electrical current down into their hearts.

610
00:36:20,920 --> 00:36:24,080
Speaker 3: So it's so interesting to see. And so there is

611
00:36:24,120 --> 00:36:28,200
Speaker 3: a verbal aspect to The Bride, but she's so rarely

612
00:36:29,480 --> 00:36:33,960
Speaker 3: telling you what she needs, what she means. You know,

613
00:36:34,040 --> 00:36:36,160
Speaker 3: you have to do a little work to figure that out.

614
00:36:36,480 --> 00:36:39,800
Speaker 3: Oh and that's true with all of my characters.

615
00:36:39,560 --> 00:36:40,920
Speaker 4: Which is the truth of humans.

616
00:36:41,840 --> 00:36:44,120
Speaker 3: I think so, yeah, I think so. And then every

617
00:36:44,160 --> 00:36:46,719
Speaker 3: once in a while someone will say, you know, I'm

618
00:36:46,760 --> 00:36:50,799
Speaker 3: really scared, you know, or whatever, and you'll go, oh,

619
00:36:50,880 --> 00:36:53,600
Speaker 3: that's why you were screaming at me, or you know,

620
00:36:53,760 --> 00:36:58,000
Speaker 3: I mean, so's that's I don't ever want to put

621
00:36:58,040 --> 00:37:02,200
Speaker 3: an exposition, but a big movie that was something sometimes

622
00:37:02,239 --> 00:37:04,799
Speaker 3: I had to do. I had to sometimes, and I've

623
00:37:04,840 --> 00:37:07,719
Speaker 3: seen some like big movies. Mine does not do this,

624
00:37:08,160 --> 00:37:10,880
Speaker 3: but where you can tell later they went in and

625
00:37:10,880 --> 00:37:12,680
Speaker 3: they had on the back of their head. They had

626
00:37:12,680 --> 00:37:14,880
Speaker 3: someone say, I'm going to the doctor because there's a

627
00:37:14,960 --> 00:37:17,200
Speaker 3: poking who didn't catch me. There's a problem with the

628
00:37:17,440 --> 00:37:19,960
Speaker 3: you know what, I do think that's cheating, and I

629
00:37:20,000 --> 00:37:24,760
Speaker 3: think that as much as possible, you have to tell

630
00:37:24,800 --> 00:37:27,880
Speaker 3: the story in a different way. You have to, you

631
00:37:27,920 --> 00:37:30,560
Speaker 3: have to like let that information out.

632
00:37:31,440 --> 00:37:34,839
Speaker 1: If someone finished The Bride, what should they read next.

633
00:37:35,560 --> 00:37:38,719
Speaker 3: I'm just going with the first thing that comes to mind. Oh,

634
00:37:38,760 --> 00:37:40,400
Speaker 3: I have so many things that are coming into my

635
00:37:40,440 --> 00:37:42,840
Speaker 3: mind now. One thing I really one book I really

636
00:37:42,880 --> 00:37:45,360
Speaker 3: loved that was a little bit of an inspiration, although

637
00:37:45,400 --> 00:37:48,839
Speaker 3: I read it so much before that I hope I'm

638
00:37:48,880 --> 00:37:53,160
Speaker 3: not like misremembering. But I loved George saunders book Lincoln

639
00:37:53,160 --> 00:37:56,960
Speaker 3: and the Bardo, which also deals with people in a

640
00:37:57,120 --> 00:38:01,839
Speaker 3: kind of liminal place between being alive and dead and

641
00:38:02,080 --> 00:38:07,040
Speaker 3: what that feels like, what that means. I loved that book,

642
00:38:07,120 --> 00:38:09,280
Speaker 3: so that would be good. I'm also thinking just about

643
00:38:09,760 --> 00:38:13,759
Speaker 3: one other thing that comes to mind, real classic which

644
00:38:13,800 --> 00:38:18,239
Speaker 3: I didn't read until I was forty, probably Jane Eyre

645
00:38:18,360 --> 00:38:21,240
Speaker 3: and the reason I say that is because it's another book.

646
00:38:21,480 --> 00:38:24,760
Speaker 3: It's one of the only books published written by women

647
00:38:25,480 --> 00:38:29,560
Speaker 3: in the nineteenth century. And I think when I read it,

648
00:38:29,760 --> 00:38:33,880
Speaker 3: I laughed it. Ut I liked the stuff when she

649
00:38:33,920 --> 00:38:35,520
Speaker 3: was a kid, but like, really it was that love

650
00:38:35,560 --> 00:38:41,360
Speaker 3: story for me. Which again, when Rochester says to her,

651
00:38:43,360 --> 00:38:46,880
Speaker 3: I mentally shake hands with you, I'm like, oh my god,

652
00:38:47,520 --> 00:38:47,959
Speaker 3: so hot.

653
00:38:50,640 --> 00:38:53,520
Speaker 5: But that's so feminine. I mean, look, there are exceptions

654
00:38:53,520 --> 00:38:56,920
Speaker 5: to the role, but like, hilarious, what guy is writing

655
00:38:57,000 --> 00:39:01,160
Speaker 5: that sexy scene? You know that it's not that's a woman.

656
00:39:01,320 --> 00:39:04,600
Speaker 3: That's a woman, and so we're so starved for that

657
00:39:04,880 --> 00:39:10,440
Speaker 3: kind of perspective. And so there's two for you.

658
00:39:11,360 --> 00:39:11,759
Speaker 2: Thank you.

659
00:39:12,120 --> 00:39:13,120
Speaker 4: Both are so good.

660
00:39:14,040 --> 00:39:17,560
Speaker 1: You seem like a person who will deep dive when

661
00:39:17,560 --> 00:39:21,800
Speaker 1: you are interested in something. What are you so obsessed

662
00:39:21,840 --> 00:39:24,000
Speaker 1: with right now that you could write a book about it?

663
00:39:24,920 --> 00:39:28,040
Speaker 4: Imax say more? What do you mean?

664
00:39:28,280 --> 00:39:34,320
Speaker 3: Okay, so I will say more. This movie. So obviously

665
00:39:34,360 --> 00:39:37,080
Speaker 3: many movies you can see on IMAX. Very few movies

666
00:39:37,120 --> 00:39:41,120
Speaker 3: actually are shot for IMAX, meaning you can in an

667
00:39:41,120 --> 00:39:46,960
Speaker 3: IMAX theater change aspect ratio, which means that my film

668
00:39:47,040 --> 00:39:51,279
Speaker 3: was shot on two three nine aspect ratio, which means

669
00:39:51,280 --> 00:39:54,520
Speaker 3: it's wide, which is kind of like the way that

670
00:39:54,719 --> 00:39:59,400
Speaker 3: a classic seventies eighties cinematic movie would be shot. And

671
00:39:59,440 --> 00:40:01,759
Speaker 3: we decided on that aspect ratio because we were kind

672
00:40:01,760 --> 00:40:05,200
Speaker 3: of saying, Okay, they're monsters, but let's give them the

673
00:40:05,200 --> 00:40:08,400
Speaker 3: cinematic form that would be saved for like your you know,

674
00:40:08,440 --> 00:40:13,960
Speaker 3: like major heroes. But when I started to make the movie,

675
00:40:14,120 --> 00:40:16,960
Speaker 3: Warner Brothers asked me if I would shoot it for Imax.

676
00:40:17,200 --> 00:40:19,040
Speaker 3: What it means is that even though we shot at

677
00:40:19,080 --> 00:40:21,960
Speaker 3: wide screen, if you see it in an IMAX theater,

678
00:40:23,200 --> 00:40:26,839
Speaker 3: it will grow vertically. If you're looking at me right now,

679
00:40:26,840 --> 00:40:28,520
Speaker 3: like you and I are looking at each other, if

680
00:40:28,560 --> 00:40:30,759
Speaker 3: this is the wide screen frame, which is basically from

681
00:40:30,800 --> 00:40:33,000
Speaker 3: the top of my head to my chin, it will

682
00:40:33,120 --> 00:40:36,759
Speaker 3: grow to include the rest of the frame in Imax.

683
00:40:38,040 --> 00:40:42,280
Speaker 3: And if you go to the most special forty Imax

684
00:40:42,280 --> 00:40:44,799
Speaker 3: screens in the world there's only forty of them, it

685
00:40:44,840 --> 00:40:48,640
Speaker 3: will grow even taller. So we shot the movie on

686
00:40:48,680 --> 00:40:53,200
Speaker 3: animorph lenses, which only hold enough information for a wide

687
00:40:53,200 --> 00:40:56,080
Speaker 3: screen format that original format I was talking about. We

688
00:40:56,160 --> 00:41:00,200
Speaker 3: had to decide beforehand places in the movie where where

689
00:41:00,840 --> 00:41:04,120
Speaker 3: we might want to expand and shoot on spherical lenses

690
00:41:04,200 --> 00:41:09,759
Speaker 3: which contained that information, and even as we were making

691
00:41:09,800 --> 00:41:12,040
Speaker 3: those choices. When we were shooting, I understood what I

692
00:41:12,120 --> 00:41:13,880
Speaker 3: was doing, but I was like learning on the go,

693
00:41:14,239 --> 00:41:17,799
Speaker 3: then in the edit, learning more, learning more. Then I

694
00:41:17,880 --> 00:41:21,360
Speaker 3: realized that because I had never shot an Imax but

695
00:41:21,520 --> 00:41:27,160
Speaker 3: also barely consumed IMAX, the way I imagined this vertical

696
00:41:27,480 --> 00:41:37,200
Speaker 3: growing was new. I imagined it growing animating slowly so

697
00:41:37,320 --> 00:41:40,360
Speaker 3: you feel it, so it as like a magic quality.

698
00:41:40,640 --> 00:41:43,360
Speaker 3: I also sometimes imagined it, or actually I realized this

699
00:41:43,400 --> 00:41:47,120
Speaker 3: when we started doing it, taking place over cuts, over edits,

700
00:41:47,160 --> 00:41:52,840
Speaker 3: so it's a really slow growth. Also, usually IMAX vertical

701
00:41:52,880 --> 00:41:56,200
Speaker 3: expansion is used if you're like in a big car

702
00:41:56,400 --> 00:42:02,040
Speaker 3: chase or a big explosion or do that. But really

703
00:42:02,120 --> 00:42:07,439
Speaker 3: mostly we grow when something magic is happening. And there's

704
00:42:07,440 --> 00:42:09,480
Speaker 3: a lot of magic in the movie, obviously bringing people

705
00:42:09,480 --> 00:42:13,839
Speaker 3: back to life or something really deeply emotional, and it

706
00:42:13,920 --> 00:42:16,840
Speaker 3: gives you when you watch the movie in that format,

707
00:42:16,920 --> 00:42:21,080
Speaker 3: this kind of it's it just feel magic. So that

708
00:42:21,239 --> 00:42:24,680
Speaker 3: is something that if you don't stop me, we could

709
00:42:24,719 --> 00:42:27,879
Speaker 3: sit here and talk about for so long because it's

710
00:42:27,960 --> 00:42:30,440
Speaker 3: new to me and it's really something I'm in the

711
00:42:30,480 --> 00:42:35,520
Speaker 3: process of kind of digesting and learning about my next movie.

712
00:42:35,160 --> 00:42:38,000
Speaker 3: I really want to shoot on Imax too.

713
00:42:38,800 --> 00:42:41,319
Speaker 4: I understand why after hearing you explain that.

714
00:42:41,920 --> 00:42:47,560
Speaker 1: Yeah, okay, we're going to do a little speed read, Maggie.

715
00:42:47,760 --> 00:42:49,439
Speaker 4: You think you can hang, Okay, let's try.

716
00:42:49,960 --> 00:42:53,239
Speaker 1: Okay, if you could adapt any book that no one

717
00:42:53,239 --> 00:42:54,320
Speaker 1: has touched yet.

718
00:42:54,440 --> 00:42:55,040
Speaker 4: What would it be?

719
00:42:56,239 --> 00:42:58,279
Speaker 3: I actually want to do it, So I'm not going

720
00:42:58,360 --> 00:43:00,799
Speaker 3: to tell you I'm trying that. I'm trying to get

721
00:43:00,840 --> 00:43:02,440
Speaker 3: a really good one.

722
00:43:04,040 --> 00:43:07,400
Speaker 1: My only request is that when you get it and

723
00:43:07,440 --> 00:43:12,200
Speaker 1: I get to interview you for the movie, you'll tell me. Yeah, yeah,

724
00:43:12,239 --> 00:43:14,960
Speaker 1: what's a book that changed how the way you see women?

725
00:43:15,880 --> 00:43:18,200
Speaker 3: I'm going to go I'm gonna go with f I

726
00:43:18,200 --> 00:43:22,680
Speaker 3: think like maybe the my Brilliant Friend books. Yeah.

727
00:43:22,800 --> 00:43:26,000
Speaker 1: Is there a literary mother that you understand differently?

728
00:43:26,080 --> 00:43:26,319
Speaker 4: Now?

729
00:43:27,320 --> 00:43:30,200
Speaker 3: I mean, I mean I have so many literary mothers

730
00:43:30,239 --> 00:43:33,120
Speaker 3: in my work. Oh yes, I yes, I have a

731
00:43:33,160 --> 00:43:36,680
Speaker 3: funny one. Actually, I was thinking about Missus Bennett because

732
00:43:37,640 --> 00:43:39,600
Speaker 3: I was trying to like get most this is a

733
00:43:39,600 --> 00:43:42,080
Speaker 3: long time ago now, trying to get my kid into

734
00:43:42,120 --> 00:43:45,719
Speaker 3: like a fancy private school. And I was checking my

735
00:43:45,880 --> 00:43:48,920
Speaker 3: phone at this big film festival, like, did they call me.

736
00:43:48,960 --> 00:43:50,680
Speaker 3: Did they let me know? And I was like, I'm

737
00:43:50,719 --> 00:43:54,040
Speaker 3: Elizabeth Bennett, right, Yeah, if only she can go to

738
00:43:54,120 --> 00:43:58,200
Speaker 3: kindergarten at this school, then everything will be fine and

739
00:43:58,239 --> 00:44:00,319
Speaker 3: she'll be able to survive in the world. I was like,

740
00:44:00,400 --> 00:44:02,920
Speaker 3: that's what she was thinking, that's why she was acting

741
00:44:02,960 --> 00:44:05,680
Speaker 3: that way. I was like, you got a really good one.

742
00:44:07,400 --> 00:44:10,680
Speaker 1: If your life we're a novel, what genre would critics

743
00:44:10,719 --> 00:44:13,160
Speaker 1: say it is and would they be right or wrong?

744
00:44:13,880 --> 00:44:18,440
Speaker 3: I think genre is like I think we're like post genre.

745
00:44:19,040 --> 00:44:19,480
Speaker 4: That's fair.

746
00:44:19,560 --> 00:44:23,120
Speaker 3: I agree, And I think like the movies even that

747
00:44:23,120 --> 00:44:24,759
Speaker 3: that are really exciting to me right now, I think

748
00:44:24,800 --> 00:44:28,600
Speaker 3: about one battle after another. Genre is that. I don't know.

749
00:44:29,000 --> 00:44:31,200
Speaker 3: I don't think mine is a genre either. I think

750
00:44:31,200 --> 00:44:32,080
Speaker 3: we're post genre.

751
00:44:32,520 --> 00:44:34,360
Speaker 1: Yeah, because like what would you put your It's not

752
00:44:34,480 --> 00:44:36,880
Speaker 1: horror necessarily it could be it's not.

753
00:44:37,719 --> 00:44:38,160
Speaker 4: I don't know.

754
00:44:38,480 --> 00:44:41,200
Speaker 3: I know it's not thriller. I mean it's not only horror,

755
00:44:41,200 --> 00:44:44,480
Speaker 3: it's not only thriller, it's not only romance. It's it's

756
00:44:44,520 --> 00:44:48,319
Speaker 3: a it's a it's my particular expression of all of

757
00:44:48,360 --> 00:44:49,080
Speaker 3: those things.

758
00:44:49,800 --> 00:44:51,400
Speaker 4: What's your favorite book to recommend?

759
00:44:52,000 --> 00:44:54,720
Speaker 3: Anak And I think it's like really one of my favorites.

760
00:44:55,280 --> 00:44:57,760
Speaker 4: Is there a book that you gift most often?

761
00:44:58,120 --> 00:45:00,000
Speaker 3: You know, that's a great book that I had tried

762
00:45:00,160 --> 00:45:04,760
Speaker 3: to adapt a long time ago, called Mating by Norman

763
00:45:04,880 --> 00:45:08,040
Speaker 3: Rush and I bought like thirty copies of it, and

764
00:45:08,120 --> 00:45:11,480
Speaker 3: so it's such a great novel. And it's not like

765
00:45:11,640 --> 00:45:16,400
Speaker 3: the book that's on every table. It's just not And sometimes,

766
00:45:17,080 --> 00:45:19,120
Speaker 3: especially if I'm giving like a gift to someone who

767
00:45:19,200 --> 00:45:21,440
Speaker 3: might be a reader, I think it's a good it's

768
00:45:21,440 --> 00:45:23,560
Speaker 3: a good one.

769
00:45:26,000 --> 00:45:27,560
Speaker 4: Well, I'm shaking hands with you in.

770
00:45:27,560 --> 00:45:30,200
Speaker 3: My mind mentally shaking hands with me.

771
00:45:31,239 --> 00:45:34,560
Speaker 1: Absolutely, And also just a huge congratulations.

772
00:45:34,800 --> 00:45:37,160
Speaker 4: This was a very special movie.

773
00:45:37,400 --> 00:45:39,680
Speaker 3: Thank you, Thank you. What a nice talk. I really

774
00:45:39,800 --> 00:45:40,680
Speaker 3: really enjoyed it.

775
00:45:42,239 --> 00:45:44,680
Speaker 1: Wait before you go, we have a little teaser from

776
00:45:44,680 --> 00:45:48,400
Speaker 1: the author of this month's Reese's Book Club pick, Rachel Hawkhauser.

777
00:45:49,000 --> 00:45:50,799
Speaker 1: Take a listen and don't forget to come back at

778
00:45:50,800 --> 00:45:53,200
Speaker 1: the end of the month for a whole episode about

779
00:45:53,239 --> 00:45:58,360
Speaker 1: her book. Lady Tremaine, Rachel, welcome to the club.

780
00:45:59,040 --> 00:46:01,160
Speaker 2: Thank you so much for having me. I'm so happy

781
00:46:01,160 --> 00:46:01,640
Speaker 2: to be here.

782
00:46:02,320 --> 00:46:06,560
Speaker 1: I'm so happy you're here. I'm also so happy for you. Congratulations.

783
00:46:06,680 --> 00:46:10,840
Speaker 1: Lady Tremaine is our Reese's Book Club Pink excuse me,

784
00:46:10,920 --> 00:46:13,799
Speaker 1: Our Lady Tremaine is our March Reese's book Club pick.

785
00:46:14,120 --> 00:46:17,279
Speaker 1: So first things first, it's your debut novel. How are

786
00:46:17,280 --> 00:46:18,600
Speaker 1: you celebrating pub day?

787
00:46:19,560 --> 00:46:21,640
Speaker 2: I have been waiting for pub day for a long

788
00:46:21,760 --> 00:46:24,799
Speaker 2: long time. I am waking up bright and early to

789
00:46:24,880 --> 00:46:27,759
Speaker 2: go on local news, which is a little bit terrifying

790
00:46:28,880 --> 00:46:32,200
Speaker 2: because it's live and who knows what could happen. And

791
00:46:32,440 --> 00:46:35,120
Speaker 2: I my parents are coming into town, and I have

792
00:46:35,600 --> 00:46:39,400
Speaker 2: an event that night at Powell's local bookstore here in Portland, Oregon,

793
00:46:39,840 --> 00:46:42,040
Speaker 2: and I need to pack because I'll be leaving the

794
00:46:42,080 --> 00:46:43,479
Speaker 2: next morning on my book tour.

795
00:46:44,800 --> 00:46:46,480
Speaker 4: Wow, how long is your book tour?

796
00:46:47,360 --> 00:46:49,480
Speaker 2: You know, it's kind of an ideal version of a

797
00:46:49,560 --> 00:46:52,919
Speaker 2: tour because I've got seven or eight stops, but they're

798
00:46:52,960 --> 00:46:55,480
Speaker 2: spread out over like six to seven weeks, so I

799
00:46:55,520 --> 00:46:57,759
Speaker 2: don't have to live in an airport for a week

800
00:46:57,800 --> 00:47:00,439
Speaker 2: and a half, which which is really nice. I also

801
00:47:00,440 --> 00:47:02,120
Speaker 2: have young kids, so I don't have to you know,

802
00:47:02,160 --> 00:47:03,560
Speaker 2: I can just leave them for a couple of nights

803
00:47:03,600 --> 00:47:04,080
Speaker 2: at a time.

804
00:47:04,760 --> 00:47:06,920
Speaker 1: When I talk to friends who are doing book tours,

805
00:47:06,920 --> 00:47:10,440
Speaker 1: who are authors, they're always most stressed out about their outfits.

806
00:47:10,600 --> 00:47:14,239
Speaker 4: What will they wear at each step? Did that stress you? Oh?

807
00:47:14,280 --> 00:47:17,120
Speaker 2: Yeah, I have put way too much energy and thought

808
00:47:17,160 --> 00:47:17,560
Speaker 2: into that.

809
00:47:17,600 --> 00:47:18,400
Speaker 4: It's embarrassing.

810
00:47:19,520 --> 00:47:21,719
Speaker 1: Okay, So for readers who are just picking this up,

811
00:47:21,760 --> 00:47:24,200
Speaker 1: if you could personally hand this book to someone before

812
00:47:24,200 --> 00:47:26,759
Speaker 1: they turn the first page, what would you want them

813
00:47:26,800 --> 00:47:27,080
Speaker 1: to know?

814
00:47:27,120 --> 00:47:29,439
Speaker 4: What kind of experience are they about to step into?

815
00:47:30,160 --> 00:47:32,719
Speaker 2: I would tell them that this book is not just

816
00:47:32,800 --> 00:47:37,319
Speaker 2: a straightforward retelling of Cinderella from the stepmother's point of view.

817
00:47:37,440 --> 00:47:40,520
Speaker 2: It is an untelling of Cinderella. So it's not just

818
00:47:40,560 --> 00:47:45,239
Speaker 2: a villain origin story. It is kind of a dismantling

819
00:47:45,400 --> 00:47:48,640
Speaker 2: of the fairy tale in the first place. And it

820
00:47:48,760 --> 00:47:52,239
Speaker 2: really questions, you know, the message of the original Cinderella

821
00:47:52,280 --> 00:47:55,720
Speaker 2: that if you're beautiful and nice and a little passive,

822
00:47:55,920 --> 00:47:57,960
Speaker 2: you know, you just might be lucky enough to be

823
00:47:58,040 --> 00:48:01,000
Speaker 2: picked by a prince. So the whole thing takes a deep,

824
00:48:01,040 --> 00:48:04,879
Speaker 2: hard look at the messaging around what a happy ever

825
00:48:04,960 --> 00:48:08,040
Speaker 2: after really is. And I also like to explain that

826
00:48:08,160 --> 00:48:11,160
Speaker 2: it's not fantasy, it's not a book about magic.

827
00:48:11,480 --> 00:48:13,240
Speaker 3: It reads like historical fiction.

828
00:48:13,400 --> 00:48:16,760
Speaker 2: And I really wanted to reflect the life of women

829
00:48:17,000 --> 00:48:20,279
Speaker 2: a few hundred years ago, and it was a fun

830
00:48:20,320 --> 00:48:23,440
Speaker 2: exercise to ask myself if Cinderella were a true story,

831
00:48:23,480 --> 00:48:24,680
Speaker 2: what would it have looked like.

832
00:48:25,360 --> 00:48:27,600
Speaker 1: Oh, that's so cool that you were answering that question

833
00:48:27,640 --> 00:48:28,360
Speaker 1: as you were writing.

834
00:48:29,160 --> 00:48:31,480
Speaker 2: Yeah, it was really fun to kind of think about

835
00:48:31,520 --> 00:48:35,719
Speaker 2: translating the traditional plot points to real life. So, if

836
00:48:35,760 --> 00:48:39,359
Speaker 2: there was a fairy godmother, who would that be and

837
00:48:39,800 --> 00:48:41,800
Speaker 2: how would that have taken shape?

838
00:48:42,080 --> 00:48:44,200
Speaker 1: Well, to your point, I think we have to address

839
00:48:44,239 --> 00:48:49,759
Speaker 1: the title Lady Tremaine, because that's Cinderella's quote unquote evil stepmother.

840
00:48:50,880 --> 00:48:54,960
Speaker 1: If anybody's hesitating saying like, why read it from her perspective?

841
00:48:54,960 --> 00:48:57,799
Speaker 4: Why read that story? What would you say? I would

842
00:48:57,880 --> 00:48:58,359
Speaker 4: say that.

843
00:48:58,520 --> 00:49:00,759
Speaker 2: I mean, that was my reason for writing the book

844
00:49:00,800 --> 00:49:06,000
Speaker 2: in the first place. It was a fairly dramatic time

845
00:49:06,040 --> 00:49:07,040
Speaker 2: in my own life.

846
00:49:07,160 --> 00:49:10,000
Speaker 4: In what way, if you don't mind me asking it was.

847
00:49:10,080 --> 00:49:12,840
Speaker 2: I was my husband was really ill. We're spending a

848
00:49:12,840 --> 00:49:16,360
Speaker 2: ton of time in hospitals. I was effectively caretaking for

849
00:49:16,480 --> 00:49:21,000
Speaker 2: him but also parenting our toddler, and it was just

850
00:49:21,239 --> 00:49:24,319
Speaker 2: a many months long recovery. And I came across the

851
00:49:24,400 --> 00:49:29,680
Speaker 2: depiction of Cinderella's evil stepmother literally in the hospital waiting room,

852
00:49:29,800 --> 00:49:34,400
Speaker 2: and I just thought it was in that season of

853
00:49:34,480 --> 00:49:37,880
Speaker 2: sacrifice myself. I just saw, I said, this is not

854
00:49:38,000 --> 00:49:41,640
Speaker 2: a villain motivated by harm. All she's ever done is

855
00:49:41,760 --> 00:49:45,279
Speaker 2: try to advocate for her own daughters. And that's that's

856
00:49:45,320 --> 00:49:48,160
Speaker 2: what society in the world tells mothers they should do.

857
00:49:48,280 --> 00:49:51,000
Speaker 2: That's how we define good mothers as mothers that take

858
00:49:51,040 --> 00:49:55,200
Speaker 2: care of their children. And there's just such interesting, interesting

859
00:49:55,520 --> 00:49:57,719
Speaker 2: tension there. So I thought, I have to dig into this.

860
00:49:58,600 --> 00:50:00,600
Speaker 1: But you don't think it was at this expense of

861
00:50:00,640 --> 00:50:02,840
Speaker 1: another girl, Cinderella.

862
00:50:03,080 --> 00:50:05,560
Speaker 2: Yeah, I mean I think that there is an interesting

863
00:50:05,760 --> 00:50:09,000
Speaker 2: question there. It was at the expense of Cinderella in

864
00:50:09,040 --> 00:50:14,640
Speaker 2: the traditional animated version of Cinderella, but that's not what.

865
00:50:14,560 --> 00:50:15,120
Speaker 4: The book is.

866
00:50:15,120 --> 00:50:19,319
Speaker 2: I think the book takes some different perspective on that.

867
00:50:19,880 --> 00:50:20,160
Speaker 4: Cool.

868
00:50:20,840 --> 00:50:23,360
Speaker 1: Well, I know that you love hiding Easter eggs. You

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00:50:23,400 --> 00:50:26,000
Speaker 1: even tied this book to a special puzzle from your

870
00:50:26,080 --> 00:50:30,080
Speaker 1: Jigsaw Puzzle Company. What should readers keep an eye out for?

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00:50:31,160 --> 00:50:33,400
Speaker 1: What do you think what are details that deserve a

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00:50:33,400 --> 00:50:34,000
Speaker 1: second look?

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00:50:35,520 --> 00:50:39,720
Speaker 2: Yeah? I think that what is really fun going through

874
00:50:39,880 --> 00:50:43,640
Speaker 2: the book is looking for the spots that feel recognizable.

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00:50:43,800 --> 00:50:46,840
Speaker 3: But I tried to always do a U Turner, a pure.

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00:50:46,600 --> 00:50:49,800
Speaker 2: Wet inside of those moments so that they are both

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00:50:49,880 --> 00:50:52,960
Speaker 2: recognizable but also surprising. So I think that's what's so

878
00:50:53,040 --> 00:50:55,440
Speaker 2: satisfying is you go through the plot of the book

879
00:50:55,520 --> 00:50:59,400
Speaker 2: is kind of seeing a weird mirror image of a

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00:50:59,480 --> 00:51:01,200
Speaker 2: story that we no but it's not quite that.

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00:51:02,480 --> 00:51:04,520
Speaker 1: There's this line Rachel at the end of the book

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00:51:04,600 --> 00:51:07,800
Speaker 1: that gives me chills, and I don't want to spoil

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00:51:07,840 --> 00:51:10,319
Speaker 1: it now, but I cannot wait to unpack it with

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00:51:10,360 --> 00:51:14,120
Speaker 1: you at the end of this month. So everybody happy reading.

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00:51:14,760 --> 00:51:16,520
Speaker 1: Make sure that you catch up so you can join

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00:51:16,600 --> 00:51:19,640
Speaker 1: us in a few weeks. And Rachel, we'll see you soon.

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00:51:19,719 --> 00:51:21,040
Speaker 1: We'll see you back here in a few weeks.

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00:51:21,080 --> 00:51:22,719
Speaker 4: Thank you, can't wait. Thank you.

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00:51:27,200 --> 00:51:28,799
Speaker 1: And if you want a little bit more from us,

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00:51:28,960 --> 00:51:31,279
Speaker 1: come hang with us on socials. We're at Reese's Book

891
00:51:31,280 --> 00:51:34,880
Speaker 1: Club on Instagram serving up books, vibes and behind the

892
00:51:34,880 --> 00:51:38,759
Speaker 1: scenes magic. And I'm at Danielle Robay Roba y come

893
00:51:38,800 --> 00:51:42,040
Speaker 1: say hi and df me And if you want to

894
00:51:42,080 --> 00:51:45,359
Speaker 1: go nineties on us, call us. Okay, our phone line

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00:51:45,440 --> 00:51:48,920
Speaker 1: is open, so call now at one five zero one

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00:51:49,080 --> 00:51:53,319
Speaker 1: two nine, one three three seven nine. That's one five

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00:51:53,520 --> 00:51:57,160
Speaker 1: oh one two nine, one three three seven nine.

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00:51:57,920 --> 00:51:59,600
Speaker 4: Share your literary.

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00:51:59,120 --> 00:52:03,440
Speaker 1: Hot takes, book recommendations, questions about the monthly pick, or

900
00:52:03,520 --> 00:52:05,279
Speaker 1: let us know what you think about the episode you

901
00:52:05,440 --> 00:52:08,880
Speaker 1: just heard, and who knows, you might just hear yourself

902
00:52:08,920 --> 00:52:12,239
Speaker 1: in our next episode, so don't be shy, give us

903
00:52:12,239 --> 00:52:15,160
Speaker 1: a ring, and of course, make sure to follow Bookmarked

904
00:52:15,160 --> 00:52:18,719
Speaker 1: by Reese's book Club on the iHeartRadio app, Apple podcast,

905
00:52:18,920 --> 00:52:22,719
Speaker 1: or wherever you get your shows until then see in

906
00:52:22,760 --> 00:52:27,360
Speaker 1: the next chapter. Bookmarked is a production of Hello Sunshine

907
00:52:27,440 --> 00:52:31,600
Speaker 1: and iHeart Podcast. It's executive produced by Reese Witherspoon and

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00:52:31,719 --> 00:52:36,520
Speaker 1: me Danielle Robe. Production is by ACAST Creative Studios. Our

909
00:52:36,560 --> 00:52:40,920
Speaker 1: producers are Matty Foley, Brittany Martinez, Sarah Schleid. Our production

910
00:52:41,000 --> 00:52:44,759
Speaker 1: assistant is Avery Loftis. Jenny Kaplan and Emily Rudder are

911
00:52:44,760 --> 00:52:48,840
Speaker 1: the executive producers for a Cast Creative Studios. Maureene Polo

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00:52:48,920 --> 00:52:52,440
Speaker 1: and Reese Witherspoon are the executive producers for Hello Sunshine.

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00:52:52,719 --> 00:52:54,560
Speaker 4: Olga Caminwa, Kristin.

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00:52:54,280 --> 00:52:58,200
Speaker 1: Perla and Ashley Rappaport are associate producers for Reese's book Club.

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00:52:59,360 --> 00:53:02,400
Speaker 1: Ali Perry and Lauren Hansen are the executive producers for

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00:53:02,480 --> 00:53:03,480
Speaker 1: iHeart Podcasts.