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Speaker 1: Here's some stories about shore. We made about a bunch

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Speaker 1: of doctor nurses stories. So get around hereat around here.

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Speaker 1: Oh my goodness, hello, I was just crying watching you.

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Speaker 1: So this is a little we like that. We like that.

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Speaker 1: Um well, hey everybody, we'll just dive in this is

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Speaker 1: we'll sit here that I was gonna have it be formal,

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Speaker 1: but you know what, let's just do it informally. Um. Hello, listeners,

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Speaker 1: welcome to a special version of Fake Doctor's Real Friends. Unfortunately,

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Speaker 1: the only time we could do this is on Sunday,

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Speaker 1: right before our premier. And Donald is at a basketball

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Speaker 1: tournament with his son. As we all know, his son

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Speaker 1: is just incredible at basketball, and it's Donald's dream and

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Speaker 1: he wanted to be here so badly, but he's at

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Speaker 1: a big tournament with Rocco. But we do have the

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Speaker 1: fantabulous Joel Monique and DJ Danel happy to be here,

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Speaker 1: of course. And this is really special because those of

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Speaker 1: you who listen to the podcast know how important this

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Speaker 1: whole journey of this movie has been for me. We're

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Speaker 1: gonna go deep and talk about my journey of writing it,

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Speaker 1: which a lot of you have followed because I have

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Speaker 1: been writing it the entire time we've been doing this podcast.

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Speaker 1: And it's no secret that Florence and I were partners

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Speaker 1: and we did the whole pandemic together and the whole

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Speaker 1: experience of Mick together, and we made this beautiful piece

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Speaker 1: of art. Well, at least I think it's beautiful, and

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Speaker 1: I hope you all like it. And so I just

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Speaker 1: wanted to bring Florence on Florence High. But um, I'm

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Speaker 1: here instead of Donald. Yes, yes, your your personalities are

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Speaker 1: are both vivacious, loud, yeah, yes, yes, Hi you guys,

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Speaker 1: how you dan very well? Very well? Yeah? Yeah. To

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Speaker 1: Daniel's point, there were lots of tears as we were.

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Speaker 1: We were texting each other while we were watching, like,

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Speaker 1: oh my gosh, Florence is so talented. I got to

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Speaker 1: read the script. I have questions about what happened to

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Speaker 1: one of my favorite scenes. Yeah, well don't don't, don't

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Speaker 1: do any We have to be careful. But of course

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Speaker 1: I wanted you guys to weigh in, because, um, you know, Joelle,

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Speaker 1: I have to thank you. Joel's a very talented writer,

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Speaker 1: and I uh, I in the script stage, I said, hey,

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Speaker 1: I'm getting my writing friends input. Please read this and

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Speaker 1: and and give me any thoughts you have, because I

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Speaker 1: did that with a with a myriad of people, just

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Speaker 1: to kind of get notes and thoughts from other talented people. So, Joelle,

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Speaker 1: it must have been cool for you to see it

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Speaker 1: realized it was cool because so your scripts are very

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Speaker 1: um detailed and visual, and so you got like a

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Speaker 1: full like idea, like a movie mind map, if you will,

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Speaker 1: what was happening. And so I'm watching the phone, I'm like, yeah,

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Speaker 1: this is what I read. This is great. It's sort

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Speaker 1: of how I imagined it. That's different than how imagined it,

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Speaker 1: but it's really cool. Um. And then there was a

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Speaker 1: moment where I was like, wait, did I miss the scene?

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Speaker 1: It was one of my favorite scenes reading it in

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Speaker 1: the script, and then I didn't make it to the screen,

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Speaker 1: and I was like, what happened? I'm sure there's a

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Speaker 1: very valid reason, but yeah, I just give a hint

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Speaker 1: what scene was it? So I know which scene it.

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Speaker 1: I don't think it oils anything, but let me know, Zach.

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Speaker 1: Molly Shannon makes an important phone call from flows mom

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Speaker 1: in the film, and she makes an important phone call

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Speaker 1: to try to help her daughter, and it's so moving

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Speaker 1: and well written. But I know, sometimes even the best

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Speaker 1: written stuff, for the best performed stuff, you're like, over

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Speaker 1: time or for the pacing of the film, it just happened.

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Speaker 1: What happens is, you know, we shot this movie in

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Speaker 1: twenty six days, right, and so what happens is the

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Speaker 1: analogy always uses it's like a scavenger hunt. You go

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Speaker 1: out and in twenty six days, for minimum twelve hours,

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Speaker 1: you race and race and race and collect as much

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Speaker 1: stuff as you can, right, and then you get back

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Speaker 1: to and you're like out of breath and you get

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Speaker 1: back to the edit room and then you're like, what

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Speaker 1: did we get? And what often happens is once you

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Speaker 1: do the assembly, it's two hours three sorry, two and

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Speaker 1: a half three hours long. And so that's when you know,

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Speaker 1: most filmmakers will tell you a movie is made in

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Speaker 1: the edit room. That's when you start to go, Okay,

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Speaker 1: what this giant three hour piece of clay? Where is

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Speaker 1: our two hour movie? And you take stuff out and

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Speaker 1: then you go, ah, put that back, and then you

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Speaker 1: take big chunks out because I mean a half hour

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Speaker 1: to forty five minutes is a lot of screen time. Yeah,

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Speaker 1: but that's where you really truly hone in on which

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Speaker 1: story you're going to tell with your two hours. You know. Also,

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Speaker 1: sometimes as an actor, when your stuff is cut, even

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Speaker 1: if it's not seen or shown, and that's also really sad.

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Speaker 1: It does it does give you a piece of perspective

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Speaker 1: to the character that no one else does, and it

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Speaker 1: gets you from A to B without the audience seeing.

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Speaker 1: And actually sometimes it's just as much for you as

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Speaker 1: it is for what it serves to the storyline. So

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Speaker 1: actually you come out at the end of the story

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Speaker 1: even if that scene is not seen, with a deeper

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Speaker 1: understanding of who you're playing and where they were before

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Speaker 1: that scene and after that scene. So it actually does

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Speaker 1: serve a purpose even if it's not in the movie. Yeah,

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Speaker 1: and it's heartbreaking sometimes because you know, I cut scenes,

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Speaker 1: like you said, Joel, I could have seen that Joel

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Speaker 1: loved and that scene is amazing and maybe there'll be

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Speaker 1: maybe one day. I don't know if in the streaming

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Speaker 1: days they even do cut scenes, do they? They probably

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Speaker 1: do some streaming channels me too, the Disney Plus that

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Speaker 1: actually does a lot of it. Yeah, I'd always watch

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Speaker 1: the direct the cut scenes or scenes it didn't make it,

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Speaker 1: and they'd be the best blooper is on that. Well,

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Speaker 1: what's nice is like when you love a movie you

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Speaker 1: and you love the characters and you're kind of like,

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Speaker 1: I want more. Obviously, with the streaming series there'll be

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Speaker 1: another season, but with a movie, I guess you can go, well,

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Speaker 1: show me the cut scenes. I at least want to

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Speaker 1: watch those, you know for sure it gives you the

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Speaker 1: entirely different perspectives on types, to the characters and to

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Speaker 1: the directors or writers visions. Yeah, I love cut scenes.

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Speaker 1: Wait before we go, any furvitive vote, you guys should

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Speaker 1: like for people who don't know. If somehow you've been

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Speaker 1: living under rock and didn't see a trailer, what is

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Speaker 1: this movie about? What's it called? It's a good Person? Okay,

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Speaker 1: So the reason we're doing this for those of you

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Speaker 1: who might be joining us for the first time because

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Speaker 1: you heard Florence p was on our show. This just

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Speaker 1: normally rewatch Scrubs podcast, but during lockdown I wrote a

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Speaker 1: movie for Florence Pugh, called A Good Person and Florence.

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Speaker 1: I always wrote it with her in mind, and I

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Speaker 1: when I gave it to Florence, she became a producer

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Speaker 1: of the film and was incredible. It was incredibly collaborative,

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Speaker 1: she was giving me notes that were very helpful. She

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Speaker 1: was giving me script ideas. And her character is a

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Speaker 1: singer songwriter, not as a career, but as a sort

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Speaker 1: of a way of dealing with her emotions and her

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Speaker 1: almost like journaling. She writes music. And so I asked

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Speaker 1: Florence if she would because she is a song Well

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Speaker 1: do you want to say yes? I can already already

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Speaker 1: here interrupting me, So Florence will now take over. Well

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Speaker 1: that's not that's not who she is, Alison. Well you

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Speaker 1: tell me you're you're Alison time. So um, there's a

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Speaker 1: beautiful script. I wasn't allowed to read it until it

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Speaker 1: was completed. Zach was writing it during the pandemic, and

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Speaker 1: he'd go down to the office and would write for

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Speaker 1: like four hours or five hours a day, and we'd

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Speaker 1: come back up and would be very, very excited to

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Speaker 1: share with me all the things that he had learned

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Speaker 1: about these characters. And it was at the same time

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Speaker 1: when he was starting the podcast that he'd go down

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Speaker 1: sometimes in the morning and then we'd come back in

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Speaker 1: the afternoon and would say, I've written this amazing scene

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Speaker 1: between you and Daniel, and then we'd discuss it and

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Speaker 1: chew the fat and talk about why that's amazing, where

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Speaker 1: that could go. And so I kind of was very

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Speaker 1: much a part of the story from the beginning and

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Speaker 1: understood these characters on a deeper level than if i'd

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Speaker 1: just been given the script one day. And when I

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Speaker 1: finally got the script, I Alison goes through a load

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Speaker 1: of amazing and awful interactions with these characters that she

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Speaker 1: meets throughout this story, all because of an awful tragedy

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Speaker 1: that happens at the very beginning of the movie. And

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Speaker 1: she is in such a such a mental state that

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Speaker 1: I've never even come close to or seen really before.

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Speaker 1: And I think for me, I just I really had

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Speaker 1: to try and imagine what it is that I would

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Speaker 1: be feeling if I was in that position, and if

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Speaker 1: I had affected people's lives in the way that she did.

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Speaker 1: And I guess, just to figure out if I was

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Speaker 1: on the right path, I wrote a song for me.

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Speaker 1: In my life, I've always I've always digested life or

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Speaker 1: falling in love or going through heartbreaks and with songwriting,

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Speaker 1: and it's been like my diary form, I suppose, And

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Speaker 1: so with this, I was like, Okay, I'm going to

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Speaker 1: I'm going to write something and try and get in

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Speaker 1: the headspace of Alison and showed it to Zach, played

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Speaker 1: it to Zach and Zach said, that's great. Can it

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Speaker 1: be in the movie? Which I had no intention of

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Speaker 1: it actually being in the movie. I don't remember, like, yeah,

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Speaker 1: I do, because I I digested it. I was digesting

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Speaker 1: the character like that. I remember asking you, is this

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Speaker 1: is this how she is feeling? Well? But I feel

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Speaker 1: as I always wanted her to be. Yeah, she was

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Speaker 1: always going to be like a piano player. Yeah. Well, anyway,

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Speaker 1: however it occurred, Florence wrote these two incredible songs in

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Speaker 1: the character, which is something just really unique that you

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Speaker 1: know doesn't happen very often, that your your lead actress

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Speaker 1: can get in the heads base of the character and

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Speaker 1: then write a piece of music that the character might

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Speaker 1: write and then perform it in the movie. I thought

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Speaker 1: that was really just special. It's a unique form of collaboration.

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Speaker 1: I think specifically in like cinema for yeah, for a

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Speaker 1: song from an actor to appear, and it's really lovely

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Speaker 1: and it's so wonderful to hear you seeing Florence. I

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Speaker 1: wonder so you knew Zach was working on the script,

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Speaker 1: but you couldn't read it until it was done. Am

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Speaker 1: I right in assuming this is the first like script

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Speaker 1: where a character was written with you in mind to

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Speaker 1: play the character. I've had. I've had people write scripts

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Speaker 1: and have me in mind of the role when they've

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Speaker 1: written it, which is very flattering and wonderful. And maybe

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Speaker 1: they had me in mind to act in it, and

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Speaker 1: that's a different thing. Zach. Write with the intention of

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Speaker 1: having my voice in the essence of me coming through

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Speaker 1: in a character. I think that was the difference there. Yeah,

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Speaker 1: I really just um, you know, I just think Florence

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Speaker 1: is an incredible actress, and so I wanted to write

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Speaker 1: something to her, and because I know her so well

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Speaker 1: as I was writing, and I've never done this, you

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Speaker 1: know that. The two other features I've written, I've directed

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Speaker 1: four movies. The third one Going in Style, I didn't write.

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Speaker 1: It was a studio heist comedy. But the two others

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Speaker 1: I've written and wish I was here. I should note

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Speaker 1: I wrote with my incredibly talented brother Adam Brath. But

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Speaker 1: those were, you know, written for me. They were they

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Speaker 1: were things I was going through and dealing with, and

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Speaker 1: I knew that I'd be playing the character. So for

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Speaker 1: the first time I wrote something wanting to deal with

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Speaker 1: things I was dealing with and battling the grief of

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Speaker 1: losing my my sister and my father in the last

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Speaker 1: four years. And then, of course, as while I was

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Speaker 1: writing this, all of this happened with losing Nick to COVID,

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Speaker 1: our friend who is living on our property. So I

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Speaker 1: wanted to write about all this stuff, not tell those

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Speaker 1: specific stories, but write about the grief that I was

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Speaker 1: battling and people I loved were battling, you know, looking

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Speaker 1: at Amanda, cludes Nick's widow, looking at my mom, who

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Speaker 1: would sit by my sister's bedside every day, that was

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Speaker 1: just what was what what bubbled up for me in

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Speaker 1: the Pandemic was wanting to write about standing back up

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Speaker 1: after trauma and grief, but also with my own tone,

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Speaker 1: try and find a way to find the humor in it,

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Speaker 1: because I didn't want it to be too maudlin. When

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Speaker 1: you hear me talk about those subjects, you might be like,

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Speaker 1: oh my god, this is so heavy. And don't don't

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Speaker 1: get me wrong, the movie is emotional, but also there's

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Speaker 1: a lot of that. No, but I mean, you guys

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Speaker 1: can attest to it. That there's a lot of humor

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Speaker 1: as well. Oh of course, that's what you do so well,

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Speaker 1: is right lightness when people are in such darkness. That's

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Speaker 1: that's why I think it's so easy to watch your

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Speaker 1: movies that are about really depressing shit. Yeah. Yeah, I

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Speaker 1: think what I really enjoyed about it was the messiness

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Speaker 1: involved with like healing and standing back up. I feel

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Speaker 1: like a lot of times when we see it mapped

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Speaker 1: onto films, it's, you know, a rising arc and then

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Speaker 1: you reach a peak and then you're better, and that's

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Speaker 1: totally fine, But in real life it's a lot more

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Speaker 1: comple I think the most emotional scene for me is

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Speaker 1: again without spoiling thing, you go to a group Alice,

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Speaker 1: and the character goes to a group to get some

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Speaker 1: help and figure things out, and she's been encouraged to

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Speaker 1: for the first time, like speak her truth. They're like, hey,

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Speaker 1: you have to contribute if you're going to be here,

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Speaker 1: and it's such a vulnerable place and Florence obviously played

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Speaker 1: that so well. But then what's also happening underneath is

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Speaker 1: all the things she doesn't know yet, all the lies

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Speaker 1: she's still telling to herself, and it's such if you've

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Speaker 1: ever been in a position of having to take a

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Speaker 1: first big step. It's just it's huge. It's it's really hard,

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Speaker 1: and it makes you feel like just oh, it's so

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Speaker 1: awkward and I'm uncomfortable. And then there's also the absolute

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Speaker 1: certainty that they'll be failure following that. And I think

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Speaker 1: all of that somehow is embodied in a single moment,

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Speaker 1: and it was really beautiful. Thank you. I really I

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Speaker 1: really wanted that scene. I mean, she hasn't been honest

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Speaker 1: for maybe about an hour. She hasn't really truly spoken,

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Speaker 1: and she's very good at getting out of conversations and

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Speaker 1: getting out of being, you know, put on the hot seat.

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Speaker 1: And I think with that scene it was really really important,

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Speaker 1: and I really wanted that scene to be like, she

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Speaker 1: has to speak, she has to be truly honest and

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Speaker 1: actually talk about what she thinks she is and what

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Speaker 1: she knows she is. Otherwise I think after a while,

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Speaker 1: the audience would have been a bit like, oh my gosh,

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Speaker 1: she's getting out of another opportunity of talking about how,

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Speaker 1: you know, how flawed she is. And I think that moment,

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Speaker 1: you know, to film as well was hugely cathartic. It

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Speaker 1: was a scene that I was really really nervous to shoot,

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Speaker 1: partly because we all know what those scenes look like

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Speaker 1: when we watch movies. We know that it is a

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Speaker 1: sensitive scene. It's a sensitive topic. And also just in

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Speaker 1: all honesty, like the reason why I am I get

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Speaker 1: scared about playing characters that I play is because I

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Speaker 1: love the ugliness in humans and I love the rawness

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Speaker 1: of the characters that I get to play. And that

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Speaker 1: scene specifically is something that has to be done perfectly,

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Speaker 1: Like we have to nail it, and it has to

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Speaker 1: be achieved because you don't know who's going to be

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Speaker 1: watching this movie, and you don't know who it's going

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Speaker 1: to affect, who it's going to help, who it's going

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Speaker 1: to hurt, And a scene like that, both Morgan Morgan's

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Speaker 1: Share and My Share really needs to be like delicately

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Speaker 1: held and delicately directed. And also we cannot have to

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Speaker 1: nate it. You can't get scenes like that wrong's it's

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Speaker 1: it's so well said. And also I feel like someone

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Speaker 1: once said to me, the greatest scenes of all times

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Speaker 1: and movies that you love, whether it be Brea Endo

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Speaker 1: or you know, De Niro and Raging Bull, just insert

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Speaker 1: your favorite scene there. That was just like a regular Tuesday,

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Speaker 1: you know, and the actor got up and went to

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Speaker 1: their trailer and went to hair and makeup, and they're like,

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Speaker 1: it's time to do that scene. You know, I could

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Speaker 1: have been a contender. I think that's my line. And

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Speaker 1: you know, and I feel that way with with with

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Speaker 1: Florence and Morgan's performances in this movie, because there's some

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Speaker 1: scenes that you would just drop your jaw, you know.

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Speaker 1: And I'm someone who loves actors. This I've dedicated my

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Speaker 1: life to not just being an actor, but just loving

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Speaker 1: great actors. I go to the theater a ton as

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Speaker 1: you listeners know, I love it. And so those scenes,

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Speaker 1: I mean, there's several scenes in this movie where you're

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Speaker 1: just watching some of the finest acting and I just think,

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Speaker 1: I think, you know, as a director, you're so nervous, like, okay,

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Speaker 1: today is a scene that's super intense, and um, you know,

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Speaker 1: is Morgan in the right headspace? Is Florence in the

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Speaker 1: right headspace? How what was their morning? Like, you know,

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Speaker 1: was the coffee shit? And they're in a bad mood

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Speaker 1: like you you just you know, it's a director, you're

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Speaker 1: so nervous, you know, as an actor, more nervous, you know,

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Speaker 1: of hard scenes. But it's funny. I was in a movie.

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Speaker 1: One of my first movies was a movie called Broken

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Speaker 1: Hearts Club and Greg Berlanti, who's now become one of

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Speaker 1: the biggest show runners in town, but it was his

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Speaker 1: first directing thing, and he always say, you have a

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Speaker 1: big scene today. You ready for your big scene today,

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Speaker 1: And it was like, no, I would not on the

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Speaker 1: day he would, Oh god. But anyway, my memory of

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Speaker 1: it is, I'm sorry I did that because I remember

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Speaker 1: Greg being like and I'd be like, Greig, you're building

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Speaker 1: it up so much, and now I'm now I'm scared.

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Speaker 1: But um, but Florence, you you have you do deliver

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Speaker 1: every single time, and it's just such a joy to

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Speaker 1: to watch it happen because you know, for you know,

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Speaker 1: some actors need to stay in character, and there's no

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Speaker 1: there's no right way or wrong way to accomplish this

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Speaker 1: very hard task of being vulner on que go. Some actors,

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Speaker 1: as we all know, need to need to stay in

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Speaker 1: that for the day or stay in it for the

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Speaker 1: length of the movie. And you know, both Florence and

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Speaker 1: Natalie Portman are are wonderful actor says that I've had

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Speaker 1: a chance to work with who both can magically. I mean,

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Speaker 1: I want you to speak to this because it's your process,

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Speaker 1: but Florence also can do something that's such an incredible

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Speaker 1: moment and then kind of take a breath and like

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Speaker 1: you know, turn around and talk to the dolly grip

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Speaker 1: about like you know, you know, how is his dinner

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Speaker 1: last night? And what he ate? You know? And how

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Speaker 1: do you how do you want to know? But how

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Speaker 1: do you I guess for me, as someone who can't

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Speaker 1: necessarily be that easy with it, how do you do that?

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Speaker 1: I was actually talking about this in an interview esday someone,

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Speaker 1: a woman asked me a similar question, and I hadn't

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Speaker 1: really put that much thought into it, but I think

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Speaker 1: I really love living in the adrenaline of a moment

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Speaker 1: and a scene, and I really love that man magic

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Speaker 1: energy that happens between the actor and myself in front

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Speaker 1: of a camera right then and there. And part of

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Speaker 1: the thrillers that I get to live in it for

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Speaker 1: two or three minutes or a minute and a half,

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Speaker 1: and then it's almost like wrestling, and then you go, okay, break, break,

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Speaker 1: and then I kind of have to get out of it,

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Speaker 1: just almost so that I can jump in it in

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Speaker 1: the same excited and thrilling and energizing way as the

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Speaker 1: last time, unless, of course, it's like a major moment

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Speaker 1: where I need to go over something physically. I think

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Speaker 1: I'm a very physical actor, Like I need to know

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Speaker 1: how I'm going to react to something. So for example,

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Speaker 1: in the wrestling scene with Molly and I like figuring

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Speaker 1: out how I'm going to turn an ache or move

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Speaker 1: like that's really important to me and I'll definitely prep

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Speaker 1: over that. But when it's when it's about catching that

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Speaker 1: right moment, I love living in the adrenaline of that

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Speaker 1: moment for that second for that scene and then drop

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Speaker 1: like and come back to it when I can do

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Speaker 1: it again. It's a very it's a very very special skill.

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Speaker 1: I as an actor find that I can't really do

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Speaker 1: that as well the times where I have had to

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Speaker 1: do major emotional scenes. For in Garden State, for example,

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Speaker 1: it ended up I ended up making it about the

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Speaker 1: single tier and the tub and she collects it with

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Speaker 1: the cup, which ended up being great. But what I

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Speaker 1: had first initially written it as was that he has

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Speaker 1: a full emotional breakdown, and that happened in the Wide

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Speaker 1: Master shot. I was so present, Natalie was so good.

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Speaker 1: We had no crew in there except the two cameramen

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Speaker 1: and a boom mic, and I and I had this

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Speaker 1: really emotional release and then then I then I the

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Speaker 1: director moved the camera in tight to cover it, and

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Speaker 1: I just couldn't find it again. And so I said

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Speaker 1: to myself, as a young director, I said, you know,

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Speaker 1: if that's not happening, then that's not the scene, because

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Speaker 1: I have a very big pet peeve and I'm going

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Speaker 1: to hand it on to you audience. Now you will

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Speaker 1: see it and it'll bother you too. Actors who are

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Speaker 1: crying with their voice but there's no tears coming out

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Speaker 1: of their eyes, crocodile tears. I really like you. And

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Speaker 1: it's a big scene and you're like, oh, then they

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Speaker 1: should have just pivoted and the character. If the actor

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Speaker 1: isn't feeling it or it's not happening, then you need

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Speaker 1: to pivot. And that character's not crying. But as an actor,

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Speaker 1: I've always loved that about you, And I mean you

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Speaker 1: told me that anecdote years before we work together, and

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Speaker 1: I've always loved that because usually in script, especially as

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Speaker 1: a young actress, you'd always get this scene in even

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Speaker 1: in audition scenes where like she'd be saying something and

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Speaker 1: then the direction would be like and then a tear

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Speaker 1: falls down her face, and you're like, I don't know

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Speaker 1: people that actually cry openly. I don't. I always hide

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Speaker 1: my face or I go in a bathroom, Like, you

404
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Speaker 1: don't see people usually just crying all the time. It

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Speaker 1: doesn't happen. It just happens in movies. And I loved

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Speaker 1: when you kind of release that pressure of it. It's like,

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Speaker 1: if it doesn't happen, it's not supposed to happen. You

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Speaker 1: even tell me to take it out of the script. Yeah,

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Speaker 1: I did, which I thought was really cool because she

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Speaker 1: said because there were there were moments in my screenplay

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Speaker 1: where it would say, you know Ali's eyes well, and

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Speaker 1: she goes, would you mind just taking all of that

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Speaker 1: out because I need to feel it naturally. If it

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Speaker 1: happens on the day, it'll happen on the day. Um.

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Speaker 1: But I when I see it written, it makes me uncomfortable,

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Speaker 1: like it's and I totally I totally think that's why

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Speaker 1: it feels like you then have to take a box

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Speaker 1: with it. It's like you then I think when when

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Speaker 1: the when I mean obviously. For example, if there's like

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Speaker 1: a direction in a script where it's like gunshots go off,

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Speaker 1: everybody's terrified, Like, of course that makes sense, but no,

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Speaker 1: I know, and I'm saying, but with with emotion, it's

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Speaker 1: like it's it's completely depend on if a if the

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Speaker 1: script gets you there be if if it's making sense

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Speaker 1: with you and the other actor, And I just I've

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Speaker 1: always loved that about you just taking the pressure off.

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Speaker 1: I think it's a very kind thing to do as

428
00:22:58,000 --> 00:23:00,280
Speaker 1: a director. Well, thank you. I was just going to ask,

429
00:23:00,320 --> 00:23:02,320
Speaker 1: do you think it makes the writing stronger too, because

430
00:23:02,320 --> 00:23:04,560
Speaker 1: you can cue like oh and then they cry. Okay,

431
00:23:04,560 --> 00:23:06,719
Speaker 1: so now we know that the character is sad versus

432
00:23:07,040 --> 00:23:09,080
Speaker 1: you had to construct the dialogue in such a way

433
00:23:09,080 --> 00:23:13,920
Speaker 1: that it was emoting to both of the actor performing. Honest, yeah,

434
00:23:13,960 --> 00:23:15,800
Speaker 1: I think if someone says and then they cry, I

435
00:23:15,840 --> 00:23:17,680
Speaker 1: think that's quite lazy. It's like, well, why are they

436
00:23:17,680 --> 00:23:21,200
Speaker 1: just crying? Well, I would say that I think that's

437
00:23:21,200 --> 00:23:23,919
Speaker 1: a really well said jewel because I find as an

438
00:23:23,920 --> 00:23:29,880
Speaker 1: actor there are moments where I'm just reading the page

439
00:23:30,160 --> 00:23:33,560
Speaker 1: and my eyes will well and I'm like, wow, that's

440
00:23:33,560 --> 00:23:36,280
Speaker 1: been written in such a way that I'm naturally going

441
00:23:36,359 --> 00:23:40,439
Speaker 1: to feel that. But but I just think you know,

442
00:23:40,520 --> 00:23:42,800
Speaker 1: and it's if you're a young filmmaker or an actor

443
00:23:42,840 --> 00:23:45,600
Speaker 1: listening to this. My my two cents after making a

444
00:23:45,600 --> 00:23:49,760
Speaker 1: bunch of stuff is you know, if you're if, if

445
00:23:50,080 --> 00:23:53,679
Speaker 1: you want if, if you expect the actor to cry

446
00:23:53,800 --> 00:23:57,320
Speaker 1: or have a moment, it has to come naturally. And

447
00:23:57,359 --> 00:23:59,880
Speaker 1: then if it's not happening on the day, by all means,

448
00:24:00,080 --> 00:24:03,200
Speaker 1: do not have the person make crying noises and have

449
00:24:03,240 --> 00:24:05,399
Speaker 1: no tears in their eyes, because that, to me is

450
00:24:05,480 --> 00:24:08,280
Speaker 1: so false. And you will now I'm sorry, I've been

451
00:24:08,480 --> 00:24:10,160
Speaker 1: ruin a lot of movies for you. You will see

452
00:24:10,160 --> 00:24:11,919
Speaker 1: it all over the place. Now you'd be like, but

453
00:24:12,000 --> 00:24:18,960
Speaker 1: why are their eyes not teary? Like? Yeah, Now, if

454
00:24:19,000 --> 00:24:22,640
Speaker 1: you absolutely, if it is script dependent that the persons

455
00:24:22,680 --> 00:24:25,200
Speaker 1: eyes are, well, there's this thing. There's a cheat way

456
00:24:25,200 --> 00:24:28,240
Speaker 1: where you can blow um um. It's like a menthal

457
00:24:28,560 --> 00:24:32,000
Speaker 1: thing that and it makes your eyes cry. But you

458
00:24:32,040 --> 00:24:33,639
Speaker 1: have to shoot and then you have to get that,

459
00:24:33,720 --> 00:24:35,760
Speaker 1: you have to say action and then the tear comes out.

460
00:24:35,880 --> 00:24:37,639
Speaker 1: You don't have any time. Yeah, it's not like you

461
00:24:37,640 --> 00:24:40,080
Speaker 1: can do a two minute scene and then it well yeah, yeah, exactly.

462
00:24:40,119 --> 00:24:43,440
Speaker 1: It doesn't happen. And then also nowadays, it's true, you'll

463
00:24:43,480 --> 00:24:46,720
Speaker 1: see them now too. The the the age of CGI

464
00:24:46,840 --> 00:24:51,000
Speaker 1: tears has a role, I know. But I gotta say

465
00:24:51,040 --> 00:24:53,639
Speaker 1: one thing about CGI tears that is is that is

466
00:24:53,680 --> 00:24:58,040
Speaker 1: good and this sty know there is one thing probably

467
00:24:58,040 --> 00:25:00,600
Speaker 1: you should not. You should not use CGI t uh

468
00:25:01,240 --> 00:25:03,840
Speaker 1: as totally fake. But there are moments when you are

469
00:25:03,840 --> 00:25:07,320
Speaker 1: cutting a piece where someone is crying with continuity and

470
00:25:07,359 --> 00:25:11,160
Speaker 1: the most amazing take is natural and real, and then

471
00:25:11,200 --> 00:25:13,200
Speaker 1: you need to cut to the side angle for whatever

472
00:25:13,240 --> 00:25:16,439
Speaker 1: reason and there's no tiers. You're fucked unless you have

473
00:25:16,560 --> 00:25:20,640
Speaker 1: this new invention. So then it is fine to match No, no,

474
00:25:20,720 --> 00:25:24,159
Speaker 1: I'm okay with a CGI tier if it is matching

475
00:25:24,160 --> 00:25:27,960
Speaker 1: continuity for a actual emotion. That's my personal take, isn't it.

476
00:25:28,000 --> 00:25:29,640
Speaker 1: But I can tell you right now there is there.

477
00:25:29,880 --> 00:25:41,040
Speaker 1: We had no budget for cgo. Can we go back

478
00:25:41,080 --> 00:25:45,560
Speaker 1: a little bit. I know you've rehashed your career before,

479
00:25:46,040 --> 00:25:48,000
Speaker 1: but just for our audience who might not know, I

480
00:25:48,040 --> 00:25:50,879
Speaker 1: just I just think your story is so incredible and

481
00:25:50,920 --> 00:25:52,439
Speaker 1: I know you've spoken about it before, but just for

482
00:25:52,440 --> 00:25:54,600
Speaker 1: our audience who might not know it, will you talk

483
00:25:54,680 --> 00:25:57,399
Speaker 1: about how you were discovered you were, you were in

484
00:25:57,480 --> 00:26:02,560
Speaker 1: school and they were gonna make a movie with Maizie Williams.

485
00:26:03,080 --> 00:26:09,800
Speaker 1: So I was definitely at school. I was sixteen, sixteen,

486
00:26:10,200 --> 00:26:15,840
Speaker 1: seventeen years old and it was just finishing, I think

487
00:26:15,880 --> 00:26:20,280
Speaker 1: my second to last year of school, and everybody around

488
00:26:20,320 --> 00:26:23,240
Speaker 1: town was talking about this tape. Have you done this tape?

489
00:26:23,280 --> 00:26:26,760
Speaker 1: Have you done this tape? And essentially the BBC we're

490
00:26:26,760 --> 00:26:29,439
Speaker 1: making a movie called The Falling, directed by Carol Morley,

491
00:26:29,600 --> 00:26:33,320
Speaker 1: starring Mazie Williams, and they needed to fill a school's

492
00:26:33,359 --> 00:26:37,080
Speaker 1: worth of girls. They needed to find faces that could

493
00:26:37,080 --> 00:26:42,000
Speaker 1: be possibly from nineteen sixty nine, just like different interesting,

494
00:26:42,040 --> 00:26:45,040
Speaker 1: normal faces. You didn't need to be anything special other

495
00:26:45,080 --> 00:26:48,200
Speaker 1: than maybe you fit the look of a girl being

496
00:26:48,240 --> 00:26:51,919
Speaker 1: at this school during this era. And they basically just

497
00:26:51,960 --> 00:26:54,919
Speaker 1: needed to find as many girls as possible, some just

498
00:26:55,080 --> 00:26:58,960
Speaker 1: to be essays background and some to be extras and

499
00:26:59,119 --> 00:27:01,359
Speaker 1: some to be characters. But they were just trying to

500
00:27:01,359 --> 00:27:05,119
Speaker 1: find new talent. They didn't want anybody that was recognizable.

501
00:27:05,840 --> 00:27:08,600
Speaker 1: And honestly, it was like two months of everybody saying

502
00:27:08,640 --> 00:27:10,800
Speaker 1: I've done the tape. I heard its first come, first serve,

503
00:27:12,880 --> 00:27:15,640
Speaker 1: and every school from London to Oxford was talking about

504
00:27:15,680 --> 00:27:18,159
Speaker 1: this tape, this tape, and it was you just have

505
00:27:18,280 --> 00:27:20,480
Speaker 1: to do him one minute tape and you have to

506
00:27:20,520 --> 00:27:22,400
Speaker 1: say who you are, what your name is, what you're

507
00:27:22,440 --> 00:27:25,320
Speaker 1: good at, what school you're at, where you are, and

508
00:27:25,359 --> 00:27:26,760
Speaker 1: that's it. You had it in that tape and if

509
00:27:26,800 --> 00:27:28,520
Speaker 1: you didn't hear anything back, you didn't hear anything back.

510
00:27:29,359 --> 00:27:31,119
Speaker 1: And my brother had been in the industry for a

511
00:27:31,119 --> 00:27:34,000
Speaker 1: fair few years prior to this, and I'd been watching

512
00:27:34,080 --> 00:27:37,040
Speaker 1: his you know, entrance into the industry and just how

513
00:27:37,080 --> 00:27:39,440
Speaker 1: hard it was and how cutthroat it was, and how

514
00:27:39,440 --> 00:27:42,560
Speaker 1: you'd do hundreds of tapes every two weeks and no

515
00:27:42,600 --> 00:27:44,160
Speaker 1: one would ever get back to you. All they might

516
00:27:44,200 --> 00:27:45,920
Speaker 1: do and you have to be there at Friday at

517
00:27:46,000 --> 00:27:49,200
Speaker 1: nine am to do this you know, ten minute audition

518
00:27:49,240 --> 00:27:50,840
Speaker 1: and then they also might not tell you again, just

519
00:27:50,880 --> 00:27:52,840
Speaker 1: like the brutal reality of what it is to be

520
00:27:52,960 --> 00:27:55,480
Speaker 1: a young actor or just a new actor in the industry.

521
00:27:55,800 --> 00:27:58,040
Speaker 1: And my mum had very much helped him out of

522
00:27:58,080 --> 00:28:00,720
Speaker 1: figuring that out as well. And I remember when this

523
00:28:00,760 --> 00:28:03,040
Speaker 1: tape was going around, I was like, absolutely not, I'm

524
00:28:03,080 --> 00:28:05,360
Speaker 1: not doing this tape, Like I know, I know how

525
00:28:05,400 --> 00:28:07,399
Speaker 1: hard it is because I can see how hard it

526
00:28:07,440 --> 00:28:09,359
Speaker 1: is from my brother, and there's no way in hell

527
00:28:09,840 --> 00:28:11,680
Speaker 1: that anyone is going to be giving one of these

528
00:28:11,880 --> 00:28:15,160
Speaker 1: random one of us random girls a role in this movie.

529
00:28:15,440 --> 00:28:17,679
Speaker 1: And I remember the deadline was on Saturday and I

530
00:28:17,760 --> 00:28:21,199
Speaker 1: got back home from school. My mom was like, have

531
00:28:21,320 --> 00:28:24,080
Speaker 1: you done the tape? I literally rolled my eyes and

532
00:28:24,119 --> 00:28:27,200
Speaker 1: I was like, you're kidding, you know about this tape? No,

533
00:28:27,400 --> 00:28:29,919
Speaker 1: I haven't on the tape. What do you mean? She

534
00:28:30,040 --> 00:28:31,440
Speaker 1: was like, what do you mean you haven't done the tape?

535
00:28:31,480 --> 00:28:33,879
Speaker 1: I was like, well, mom, you know better than anyone. Like,

536
00:28:34,000 --> 00:28:36,240
Speaker 1: why the hell am I doing this leaf audition? I'm

537
00:28:36,280 --> 00:28:38,040
Speaker 1: not going to get it. No one's gonna get it.

538
00:28:38,040 --> 00:28:40,200
Speaker 1: It's going to go to someone famous. Why are we

539
00:28:40,280 --> 00:28:42,719
Speaker 1: doing this? This is ridiculous? And she was like no,

540
00:28:42,720 --> 00:28:44,040
Speaker 1: no, no no, I know you're not going to get it,

541
00:28:44,200 --> 00:28:46,600
Speaker 1: but why don't we just give it a go because

542
00:28:46,640 --> 00:28:48,520
Speaker 1: this is something that you want to do and maybe

543
00:28:48,520 --> 00:28:50,840
Speaker 1: we can just start practicing, you know, being on camera

544
00:28:50,920 --> 00:28:53,360
Speaker 1: and talking to camera and just start figuring it out,

545
00:28:53,400 --> 00:28:55,080
Speaker 1: because at some point we're gonna have to figure it out.

546
00:28:55,600 --> 00:28:58,080
Speaker 1: And I was like begrudgingly going like oh, fine, okay,

547
00:28:58,080 --> 00:29:00,360
Speaker 1: And I had like greasy hair and a sweaty stars

548
00:29:00,440 --> 00:29:02,240
Speaker 1: and I was so not okay to do a tape.

549
00:29:02,600 --> 00:29:04,960
Speaker 1: And I handed in this tape and I said it

550
00:29:04,960 --> 00:29:06,520
Speaker 1: and I even made a mistake in it. I forgot

551
00:29:06,520 --> 00:29:09,440
Speaker 1: how old I was, and my mum shouts from off camera,

552
00:29:09,480 --> 00:29:15,360
Speaker 1: going how old, and I go. And then on Monday,

553
00:29:15,400 --> 00:29:19,520
Speaker 1: I got an email from Shaheen Bay Casting, who cast

554
00:29:19,560 --> 00:29:22,920
Speaker 1: the movie, and she said that Carol Morley wanted to

555
00:29:22,920 --> 00:29:26,240
Speaker 1: meet me in two weeks time. Here are the sides

556
00:29:27,320 --> 00:29:29,440
Speaker 1: you get a meeting with a director. And I was

557
00:29:29,520 --> 00:29:32,880
Speaker 1: like absolutely dumb foundered because this is not what I've

558
00:29:32,880 --> 00:29:36,080
Speaker 1: been telling everybody at school. Anyway, I went in and

559
00:29:36,120 --> 00:29:38,480
Speaker 1: then after that it was like six months of re

560
00:29:38,600 --> 00:29:41,400
Speaker 1: auditions and cameras, detests and all of this stuff, and

561
00:29:41,440 --> 00:29:43,520
Speaker 1: it was mind blowing to me. I'd never done any

562
00:29:43,560 --> 00:29:46,320
Speaker 1: of this before, and I'd never gone to an audition before.

563
00:29:46,360 --> 00:29:47,640
Speaker 1: And when I went to my audition, I remember I

564
00:29:47,680 --> 00:29:50,680
Speaker 1: was wearing this little gray crop top, like like a

565
00:29:50,720 --> 00:29:52,959
Speaker 1: little like turtleneck gray crop top, and by the time

566
00:29:53,000 --> 00:29:54,960
Speaker 1: I went into the room, my sweatpatches were down below

567
00:29:55,040 --> 00:29:57,640
Speaker 1: my boobs and I was just like, I was so terrified,

568
00:29:57,720 --> 00:29:59,720
Speaker 1: and I'd been I'd caught a train with my mum

569
00:29:59,760 --> 00:30:02,280
Speaker 1: to which was really big, and it's like just all

570
00:30:02,320 --> 00:30:05,200
Speaker 1: the scary stuff that you know, as a seventeen year

571
00:30:05,240 --> 00:30:08,320
Speaker 1: old you're not usually doing job auditions or were you

572
00:30:08,320 --> 00:30:10,400
Speaker 1: were excited at me. I was so excited, but it

573
00:30:10,480 --> 00:30:14,240
Speaker 1: was just I just was like I was so nervous

574
00:30:14,280 --> 00:30:17,640
Speaker 1: that because of my um, because of not knowing how

575
00:30:17,640 --> 00:30:19,440
Speaker 1: to do it, that they were going to catch me out.

576
00:30:20,400 --> 00:30:24,560
Speaker 1: And I did my first audition and I remember literally

577
00:30:24,560 --> 00:30:29,240
Speaker 1: like the day later, I got another email saying Carol

578
00:30:29,240 --> 00:30:30,880
Speaker 1: Moore would like to see you again. And then each

579
00:30:30,920 --> 00:30:33,360
Speaker 1: time it was like Okay, wow, get again in the

580
00:30:33,360 --> 00:30:35,040
Speaker 1: mode of this learning all my life, you know, it

581
00:30:35,120 --> 00:30:36,840
Speaker 1: was just it was nuts, absolutely nuts. And then I

582
00:30:36,840 --> 00:30:39,680
Speaker 1: didn't find out until end of September. So I handed

583
00:30:39,720 --> 00:30:44,920
Speaker 1: in the tape in June maybe May, and I didn't

584
00:30:44,960 --> 00:30:46,959
Speaker 1: find out until September. It was a whole summer of

585
00:30:47,040 --> 00:30:50,280
Speaker 1: like coming in and then I got the movie and

586
00:30:50,320 --> 00:30:52,360
Speaker 1: I got the supporting role and it was playing I

587
00:30:52,400 --> 00:30:55,200
Speaker 1: was playing opposite Maizie Williams, and it was like, whoa,

588
00:30:55,240 --> 00:30:57,200
Speaker 1: I'm in a movie and I'm missing two months of

589
00:30:57,280 --> 00:31:00,320
Speaker 1: school and this is so cool. And I lived in

590
00:31:00,320 --> 00:31:04,880
Speaker 1: a house with all these beautiful young actors happenings happening.

591
00:31:04,920 --> 00:31:08,760
Speaker 1: Mazie Williams was and it is like the topest name

592
00:31:08,880 --> 00:31:12,000
Speaker 1: that anyone knows of, and we were just living in

593
00:31:12,000 --> 00:31:13,959
Speaker 1: a house together, and it was just quite possibly one

594
00:31:13,960 --> 00:31:17,840
Speaker 1: of the most amazing eye opening Oh my god, Yes,

595
00:31:17,840 --> 00:31:19,560
Speaker 1: this is exactly what I want to do. Thank God.

596
00:31:19,600 --> 00:31:21,800
Speaker 1: This has been my daydream since I was like six,

597
00:31:22,480 --> 00:31:23,959
Speaker 1: And it was just so cool to think that the

598
00:31:23,960 --> 00:31:25,800
Speaker 1: thing that I had been dreaming of doing was actually

599
00:31:25,880 --> 00:31:27,680
Speaker 1: really fun and I really loved it. And I remember

600
00:31:27,720 --> 00:31:30,600
Speaker 1: being on set the same thing as now, asking you

601
00:31:30,640 --> 00:31:32,920
Speaker 1: know what a prop master is and what they had

602
00:31:32,920 --> 00:31:35,040
Speaker 1: for dinner? And can I help you out? And can

603
00:31:35,040 --> 00:31:38,160
Speaker 1: I help clean things? And asking, but I just constantly

604
00:31:38,160 --> 00:31:41,160
Speaker 1: asking questions. What's a boom? What's a boom operator? Like

605
00:31:41,440 --> 00:31:43,880
Speaker 1: all of these, all of these fascinating things. I would

606
00:31:43,880 --> 00:31:46,560
Speaker 1: go to go back home and I'd be so excited

607
00:31:46,600 --> 00:31:48,240
Speaker 1: and high from the day that I wouldn't be able

608
00:31:48,280 --> 00:31:50,600
Speaker 1: to sleep. And I remember my alarm would go off

609
00:31:50,600 --> 00:31:52,840
Speaker 1: at three thirty or four and I'd leap out of

610
00:31:52,880 --> 00:31:56,520
Speaker 1: bed just out of excitement. And then when we completed

611
00:31:56,560 --> 00:32:01,040
Speaker 1: the movie, I ended up my actually, big, very very

612
00:32:01,120 --> 00:32:04,200
Speaker 1: kindly knew that she wanted to get me an agent,

613
00:32:04,240 --> 00:32:05,760
Speaker 1: and she wanted to help me get an agent, and

614
00:32:05,800 --> 00:32:08,040
Speaker 1: so she set up these meetings, and I had an agent.

615
00:32:08,400 --> 00:32:10,000
Speaker 1: And the whole plan usually was that I was going

616
00:32:10,000 --> 00:32:12,240
Speaker 1: to go to drama school and then after that i'd

617
00:32:12,400 --> 00:32:14,360
Speaker 1: probably get an agent or trying it an agent. But

618
00:32:14,480 --> 00:32:16,080
Speaker 1: now I had this agent, so it was like, okay, well,

619
00:32:16,160 --> 00:32:17,880
Speaker 1: all I need to do now is finished school, which

620
00:32:17,880 --> 00:32:20,200
Speaker 1: I did not want to do. My mom was like, babe,

621
00:32:20,520 --> 00:32:22,880
Speaker 1: just finish it. I don't care what you get. Just

622
00:32:23,000 --> 00:32:25,840
Speaker 1: finish it. Go to school, get it done, and then

623
00:32:25,880 --> 00:32:27,840
Speaker 1: we can crack on with it. And so that's what happened.

624
00:32:27,880 --> 00:32:31,080
Speaker 1: So in the last few months of school, I'd be

625
00:32:31,600 --> 00:32:33,600
Speaker 1: going to do auditions on the weekends. We're going to

626
00:32:33,600 --> 00:32:35,760
Speaker 1: do this with that and then and you never did

627
00:32:35,760 --> 00:32:37,680
Speaker 1: go to dramas. I never went to drama school. I

628
00:32:37,680 --> 00:32:40,160
Speaker 1: had my agent, and I got doing auditions, and then

629
00:32:40,160 --> 00:32:43,480
Speaker 1: I obviously had to realize that you don't ever get

630
00:32:43,520 --> 00:32:45,960
Speaker 1: the first job your audition for, and then I had

631
00:32:46,000 --> 00:32:49,440
Speaker 1: to figure out how to actually do audition. You had

632
00:32:49,600 --> 00:32:52,640
Speaker 1: the ultimate case of well, it's not luck because we've

633
00:32:52,640 --> 00:32:54,640
Speaker 1: seen what's become of your career. But you did have

634
00:32:54,640 --> 00:32:56,560
Speaker 1: a case of like getting the first thing you're well.

635
00:32:56,600 --> 00:32:59,000
Speaker 1: But I mean when when the young actors asked me like, oh,

636
00:32:59,000 --> 00:33:00,480
Speaker 1: how did you get into the industry, I go, do

637
00:33:00,600 --> 00:33:03,800
Speaker 1: not listen to me at all? Like my I think

638
00:33:03,840 --> 00:33:06,360
Speaker 1: every way into the industry is a fluke and every

639
00:33:06,400 --> 00:33:08,800
Speaker 1: way in is like hard work no matter how which

640
00:33:08,840 --> 00:33:12,120
Speaker 1: way comes, because ultimately, even if you get an easy

641
00:33:12,160 --> 00:33:13,600
Speaker 1: way in, it's what you do with when you have

642
00:33:13,640 --> 00:33:15,320
Speaker 1: the microphone, and it's what you do with when you

643
00:33:15,320 --> 00:33:18,760
Speaker 1: have the stage, and it's like if if, if you're shit,

644
00:33:18,880 --> 00:33:20,960
Speaker 1: it's not going to continue. And I think for me,

645
00:33:21,760 --> 00:33:23,440
Speaker 1: I had to be I was at the right place

646
00:33:23,440 --> 00:33:26,040
Speaker 1: at the right time, right age with the director that

647
00:33:26,080 --> 00:33:27,760
Speaker 1: wanted to find someone that was new and had a

648
00:33:27,760 --> 00:33:31,320
Speaker 1: new face. And I had a casting team that just

649
00:33:31,400 --> 00:33:34,000
Speaker 1: actually wanted to support me and get me an agent,

650
00:33:34,080 --> 00:33:36,920
Speaker 1: and she he and then cast me in Fighting My Family.

651
00:33:37,040 --> 00:33:39,120
Speaker 1: She cast me and Lady Macbeth like all these movies

652
00:33:39,120 --> 00:33:41,800
Speaker 1: that really made my career. Yeah, but also I mean

653
00:33:42,560 --> 00:33:44,840
Speaker 1: she discovered that you had a natural I knew what

654
00:33:44,920 --> 00:33:47,080
Speaker 1: to do when I had the mic Yeah. Yeah, Now

655
00:33:47,160 --> 00:33:52,160
Speaker 1: how long after was Lady Macbeth. Lady Macbeth was two

656
00:33:52,280 --> 00:33:56,000
Speaker 1: years later, so I did the Falling when I was seventeen,

657
00:33:56,080 --> 00:33:59,280
Speaker 1: finished school, turned eighteen, and then I had just a

658
00:33:59,360 --> 00:34:01,200
Speaker 1: year of doing all additions and trying to figure out

659
00:34:01,200 --> 00:34:02,680
Speaker 1: if I can do this, if I'm good at it,

660
00:34:03,040 --> 00:34:06,640
Speaker 1: And then I did a pilot in the first month

661
00:34:06,720 --> 00:34:09,759
Speaker 1: or two and I turned nineteen. That didn't go, and

662
00:34:09,800 --> 00:34:12,800
Speaker 1: then pretty much like two months later, I started choosing

663
00:34:12,840 --> 00:34:15,160
Speaker 1: Lady Macbeth, which, okay, so for those of you whom

664
00:34:15,200 --> 00:34:16,640
Speaker 1: I'm going to interrupt, you just say, for those who

665
00:34:16,640 --> 00:34:19,160
Speaker 1: haven't seen Lady Macbeth, you really need to see this movie.

666
00:34:19,239 --> 00:34:23,360
Speaker 1: It is really truly The following was Florence's first job,

667
00:34:23,960 --> 00:34:27,840
Speaker 1: and but Lady McBeth is what launched her on to

668
00:34:28,200 --> 00:34:31,439
Speaker 1: everyone's radar, and it was an incredible film. It doesn't

669
00:34:31,480 --> 00:34:34,680
Speaker 1: have anything to do with this Shakespeare's Macbeth, although the

670
00:34:34,800 --> 00:34:38,719
Speaker 1: character is. The title is probably a nod to behaviors

671
00:34:38,719 --> 00:34:45,400
Speaker 1: of the character dys It's a play, okay, so in

672
00:34:46,040 --> 00:34:48,440
Speaker 1: play it's an opera and a play, and it was

673
00:34:48,480 --> 00:34:51,920
Speaker 1: adapted to a very low budget independent film. I think

674
00:34:51,920 --> 00:34:54,920
Speaker 1: it takes almost place. I think it takes place almost

675
00:34:55,040 --> 00:34:57,880
Speaker 1: entirely in one house, one house and a few mores,

676
00:34:57,960 --> 00:34:59,440
Speaker 1: and we shot it in like two and a bit

677
00:34:59,480 --> 00:35:02,040
Speaker 1: weeks for a quarter of a million. Yeah, so it

678
00:35:02,080 --> 00:35:04,239
Speaker 1: was it cost a quarter million dollars to make, which,

679
00:35:04,400 --> 00:35:08,080
Speaker 1: if you don't know, movie budgeting is minuscule and two

680
00:35:08,080 --> 00:35:11,360
Speaker 1: weeks time and it's just an ultimate example. I'm not

681
00:35:11,400 --> 00:35:13,319
Speaker 1: just saying this because Florence is here. It is just

682
00:35:13,400 --> 00:35:16,480
Speaker 1: the ultimate example if if the writing is brilliant and

683
00:35:16,560 --> 00:35:19,359
Speaker 1: the acting is brilliant, you can have people on the

684
00:35:19,520 --> 00:35:21,600
Speaker 1: edge of your sheet and have a movie take place

685
00:35:21,800 --> 00:35:28,400
Speaker 1: in one house and every single person who loves actors

686
00:35:29,040 --> 00:35:33,440
Speaker 1: and acting who saw that movie said, who the hell

687
00:35:33,840 --> 00:35:38,480
Speaker 1: is this person? Because it was an incredible, incredible performance

688
00:35:39,880 --> 00:35:41,799
Speaker 1: and you were nominated for a Bathta I believe, or

689
00:35:41,800 --> 00:35:44,200
Speaker 1: did you win a Bafta? I want a Biffer And

690
00:35:44,239 --> 00:35:48,080
Speaker 1: I was nominated for a Bafta. Yeah at how old? Well?

691
00:35:48,080 --> 00:35:49,839
Speaker 1: I did the movie when I was nineteen, So there

692
00:35:49,840 --> 00:35:53,840
Speaker 1: you go. That's pretty incredible. Thank you. I highly highly

693
00:35:53,840 --> 00:35:59,880
Speaker 1: recommend that film. And my scene pawn is his Naomi Aki. Yeah,

694
00:36:00,000 --> 00:36:04,040
Speaker 1: wonderful Naomi Aki and Cosmo Jarvis who are doing wonderful

695
00:36:04,120 --> 00:36:06,239
Speaker 1: work and every time I see them at events. It's

696
00:36:06,280 --> 00:36:09,680
Speaker 1: like seeing like your sibling from when you were younger

697
00:36:09,680 --> 00:36:12,279
Speaker 1: and before you got adopted. It was like, it's truly like,

698
00:36:12,320 --> 00:36:15,480
Speaker 1: oh my god, there you are from from the past. Um.

699
00:36:15,719 --> 00:36:19,480
Speaker 1: And Naomi is doing incredible work and she's so unbelievably

700
00:36:19,480 --> 00:36:22,440
Speaker 1: talented and beautiful, and it's been so wonderful watching her

701
00:36:23,400 --> 00:36:28,279
Speaker 1: rise after playing Whitney m Did you see it? Um? No,

702
00:36:28,400 --> 00:36:30,200
Speaker 1: I didn't see the film, but I know that she's

703
00:36:30,239 --> 00:36:34,120
Speaker 1: an incredible actress because she's incredible in the movie. And um,

704
00:36:34,520 --> 00:36:39,000
Speaker 1: and I've I've watched I think some other things with her. UM,

705
00:36:39,840 --> 00:36:44,160
Speaker 1: So I don't um. And then, of course Midsommer. So

706
00:36:44,200 --> 00:36:47,239
Speaker 1: many people love that movie. Yeah, if you're weird, then

707
00:36:47,280 --> 00:36:52,160
Speaker 1: you love it. I think too. There some people come

708
00:36:52,200 --> 00:36:54,480
Speaker 1: up to me and they're like, oh my god, Midsummer

709
00:36:54,560 --> 00:36:57,640
Speaker 1: is my favorite movie ever. I watched it. I watch

710
00:36:57,680 --> 00:37:00,319
Speaker 1: it all the time, and I'm like, you're really would

711
00:37:01,680 --> 00:37:05,839
Speaker 1: I accept it? I cheer every time. Yeah. And every

712
00:37:05,880 --> 00:37:07,120
Speaker 1: time I watched with a guy, they're like, what are

713
00:37:07,160 --> 00:37:09,279
Speaker 1: you doing? I'm like, it's just so beauty. Chose yourself,

714
00:37:09,360 --> 00:37:12,880
Speaker 1: but it's so lovely. I love This movie has spawned

715
00:37:13,000 --> 00:37:15,480
Speaker 1: more fan art than any other film I've ever seen. Yeah,

716
00:37:15,520 --> 00:37:18,560
Speaker 1: he used to collect it. He used to collect the

717
00:37:18,640 --> 00:37:22,360
Speaker 1: fan and put them on a shelf. It was very cute. Well,

718
00:37:22,400 --> 00:37:25,960
Speaker 1: I there's so much fan art for Midsommart that I

719
00:37:26,000 --> 00:37:28,040
Speaker 1: would if Florence would look at some of it. But

720
00:37:28,160 --> 00:37:29,919
Speaker 1: I would go to deep dive because I just thought

721
00:37:29,920 --> 00:37:31,640
Speaker 1: it was I mean, there's so much talent. You know,

722
00:37:31,680 --> 00:37:35,360
Speaker 1: there's sculptures of her. There's actually actually would get things made,

723
00:37:35,400 --> 00:37:37,520
Speaker 1: like I know, I didn't I didn't commission them. I

724
00:37:37,520 --> 00:37:39,760
Speaker 1: would like find them and be like, how could Florence

725
00:37:39,840 --> 00:37:42,440
Speaker 1: not own this? She needs And I would DM the

726
00:37:42,560 --> 00:37:45,640
Speaker 1: artist and be like, are you selling this? Because I

727
00:37:45,719 --> 00:37:48,279
Speaker 1: know Florence Pew and she should own it. And the

728
00:37:48,320 --> 00:37:52,520
Speaker 1: person would be like, Florence is gonna own it? And

729
00:37:52,560 --> 00:37:53,920
Speaker 1: I know no one. I'd be like, I am not

730
00:37:54,000 --> 00:37:57,080
Speaker 1: taking it, your artist, beautiful. You name the price, and

731
00:37:57,360 --> 00:38:00,120
Speaker 1: I always obviously paid and then paid them, probably more

732
00:38:00,160 --> 00:38:02,399
Speaker 1: than they were asking. But there were a few things.

733
00:38:02,440 --> 00:38:06,440
Speaker 1: There were just you got me airings downy airings. Well,

734
00:38:05,520 --> 00:38:08,600
Speaker 1: there there was a pin, there were pins. Got the pin,

735
00:38:08,760 --> 00:38:10,960
Speaker 1: and I got the little sculpture. There's a sculpture. You

736
00:38:11,000 --> 00:38:13,080
Speaker 1: can go on Etsy and just go down on Midsummer

737
00:38:13,719 --> 00:38:16,560
Speaker 1: Art wormhole, the amazing posters from all around the world.

738
00:38:16,600 --> 00:38:20,239
Speaker 1: Didn't you give me the Japanese? Yes, there's a Japanese don't.

739
00:38:20,239 --> 00:38:21,960
Speaker 1: I don't know if it was their official poster or

740
00:38:22,000 --> 00:38:26,680
Speaker 1: if it was a special commission, but um, it was gorgeous.

741
00:38:26,719 --> 00:38:28,600
Speaker 1: You can google image it if you're curious. And I

742
00:38:28,680 --> 00:38:31,120
Speaker 1: and I and I hunted that down and bought that

743
00:38:31,200 --> 00:38:33,520
Speaker 1: for you. Um, I just think that's so cool. I

744
00:38:33,520 --> 00:38:35,560
Speaker 1: geek out like Florence, like with the with the with

745
00:38:35,640 --> 00:38:38,880
Speaker 1: the Black Widow toys. She's not nearly as interested as

746
00:38:38,880 --> 00:38:40,640
Speaker 1: I am, Like, am I look at it? I'm like, oh,

747
00:38:40,640 --> 00:38:42,719
Speaker 1: that's a little me. That's no. I remember pulling out

748
00:38:42,760 --> 00:38:44,840
Speaker 1: the Lego figurine. Now, first of all, Legos were my

749
00:38:44,880 --> 00:38:47,080
Speaker 1: favorite thing as a child, and I still love them

750
00:38:47,120 --> 00:38:49,879
Speaker 1: as an adult. Obviously, Um, Donald and I. That's another

751
00:38:49,920 --> 00:38:52,000
Speaker 1: thing Donald and I sharing common is our love of Legos.

752
00:38:52,560 --> 00:38:55,520
Speaker 1: But when the Black Widow, when the Black Widow Legos

753
00:38:55,520 --> 00:38:57,440
Speaker 1: set out set came out, I bought it and I

754
00:38:57,520 --> 00:39:00,600
Speaker 1: was running to Florence like, you're a fucking Lego figure

755
00:39:01,320 --> 00:39:03,200
Speaker 1: And She's like, that's so cool, that's so cool. I'm like,

756
00:39:03,360 --> 00:39:09,640
Speaker 1: you're not excited enough, but I got to see you excited,

757
00:39:09,719 --> 00:39:12,960
Speaker 1: which was it's just as good. Oh my gosh, I

758
00:39:13,040 --> 00:39:16,239
Speaker 1: listen on the Life Goals list. Uh. You know, I'm

759
00:39:16,320 --> 00:39:18,439
Speaker 1: honored to be a Funko pop but I really would

760
00:39:18,480 --> 00:39:21,240
Speaker 1: love to be a Lego figure that Lego Yeah, harrigan.

761
00:39:21,400 --> 00:39:24,280
Speaker 1: I don't know why Lego has not made the freck

762
00:39:24,440 --> 00:39:28,200
Speaker 1: from Obi one set yet. What's going on, guys? Yeah?

763
00:39:37,680 --> 00:39:39,959
Speaker 1: But um, so talk a little bit about black Widdow because,

764
00:39:40,080 --> 00:39:43,319
Speaker 1: as you know, um, Joelle and Donald in particular are

765
00:39:43,400 --> 00:39:46,000
Speaker 1: Marvel mega fans. Well, what do you want to know? Yeah,

766
00:39:46,120 --> 00:39:47,759
Speaker 1: we have the script for Thunderbirds. You want us to

767
00:39:47,800 --> 00:39:55,680
Speaker 1: read it? It's what's it called? Oh? I'm sorry, Come on, Joel,

768
00:39:55,719 --> 00:39:57,960
Speaker 1: would you like us to perform the Thunderbolt screenplay for you?

769
00:39:58,080 --> 00:40:02,200
Speaker 1: Right a? Please? Oh my gosh. Well, I'm giving you

770
00:40:02,239 --> 00:40:04,719
Speaker 1: a moment to ask any of your Marvel questions on

771
00:40:04,760 --> 00:40:09,080
Speaker 1: behalf of you and Donald's. She obviously can't say much,

772
00:40:09,160 --> 00:40:12,320
Speaker 1: but yes, yes, okay. Do you want to know who's

773
00:40:12,320 --> 00:40:14,400
Speaker 1: in Thunderbolts? Are we allowed to say? I don't even

774
00:40:14,440 --> 00:40:18,760
Speaker 1: know who's in Thunderbolts. I find out online. I'm like, okay,

775
00:40:18,800 --> 00:40:21,840
Speaker 1: all right, that's how secret. Well this isn't a secret

776
00:40:21,880 --> 00:40:23,839
Speaker 1: because I'll tell you stuff that has been on the

777
00:40:23,840 --> 00:40:27,560
Speaker 1: interweb that Harrison Ford, isn't it? Yes, you tell me that.

778
00:40:27,600 --> 00:40:31,680
Speaker 1: Actually that's my friend. Um, I believe what is that

779
00:40:31,800 --> 00:40:38,520
Speaker 1: amazing actress from The Bear? Yes, she's in it? Oh? Yes,

780
00:40:38,680 --> 00:40:43,960
Speaker 1: what's her name? I owe a debris. She's incredible, so funny.

781
00:40:44,840 --> 00:40:47,000
Speaker 1: I did squeal when I read that. I read that

782
00:40:47,160 --> 00:40:49,319
Speaker 1: on the interweb. She's in it. I'm going to be

783
00:40:49,360 --> 00:40:51,960
Speaker 1: her best friend, even if, even if I don't know

784
00:40:52,000 --> 00:40:53,719
Speaker 1: how I'm going to make that happen. I think that

785
00:40:53,800 --> 00:40:56,160
Speaker 1: you like tax Florence because we need to see the

786
00:40:56,239 --> 00:41:01,480
Speaker 1: drinking adventures of you. And yeah, yeah she um man,

787
00:41:01,560 --> 00:41:04,400
Speaker 1: I love the Bear and she's just fantastic in it.

788
00:41:05,000 --> 00:41:10,840
Speaker 1: Um I think um Sebastian stand and um, I believe

789
00:41:10,880 --> 00:41:14,200
Speaker 1: why it Russell is in it? Yeah, I mean that's it.

790
00:41:14,320 --> 00:41:20,759
Speaker 1: I think that's that's on the interwebs. Is Stephen this die? Thanks? Uh?

791
00:41:21,239 --> 00:41:23,600
Speaker 1: And I bet you Julie's dry fist is probably in it.

792
00:41:23,840 --> 00:41:27,160
Speaker 1: I I guys, this is tricky stuff. Yeah, we don't

793
00:41:27,160 --> 00:41:29,920
Speaker 1: want to get we don't. We don't want to but

794
00:41:29,960 --> 00:41:31,600
Speaker 1: I can't talk about the one that I have already

795
00:41:31,600 --> 00:41:34,640
Speaker 1: done and the series that I was already done. Yeah,

796
00:41:34,719 --> 00:41:36,239
Speaker 1: so on what was that like? I mean, just for

797
00:41:36,320 --> 00:41:38,520
Speaker 1: you know, a lot of our audience does love Marvel,

798
00:41:38,600 --> 00:41:41,000
Speaker 1: and um so tell us just you know, I know

799
00:41:41,000 --> 00:41:43,200
Speaker 1: you've spoken about it a lot, but but you know,

800
00:41:43,239 --> 00:41:45,759
Speaker 1: what's it like to step into a movie that gargantuan?

801
00:41:45,920 --> 00:41:47,920
Speaker 1: I mean the movie. I remember watching that movie and

802
00:41:47,960 --> 00:41:51,200
Speaker 1: being like, I just can't fathom the scale of this thing.

803
00:41:51,239 --> 00:41:53,720
Speaker 1: When you guys are when you win that that sequence

804
00:41:53,760 --> 00:41:56,960
Speaker 1: for example, of the skydiving with Scarlet and and I mean,

805
00:41:57,120 --> 00:42:00,440
Speaker 1: how does the fun did he? Was that even done? Know?

806
00:42:00,800 --> 00:42:04,640
Speaker 1: I mean I do know? So yeah, I mean saying

807
00:42:04,760 --> 00:42:08,960
Speaker 1: Yester project like that is all for the right reasons

808
00:42:09,120 --> 00:42:14,400
Speaker 1: terrifying because for me, it's a world that means so

809
00:42:14,480 --> 00:42:17,600
Speaker 1: much to so many and so many people know my

810
00:42:17,719 --> 00:42:21,000
Speaker 1: character better than I'll ever know it, and i'd lain

811
00:42:21,080 --> 00:42:24,239
Speaker 1: I had never been played before. It's also you know,

812
00:42:24,280 --> 00:42:29,960
Speaker 1: she's associated with Black Widow, with Scarlett's character who also

813
00:42:30,040 --> 00:42:34,440
Speaker 1: everybody has such a sensitive and tough time discussing her

814
00:42:34,560 --> 00:42:37,160
Speaker 1: character because of how how it all ended, and everybody's

815
00:42:37,200 --> 00:42:40,520
Speaker 1: very sad about that. And and so yeah, saying getting

816
00:42:40,560 --> 00:42:43,360
Speaker 1: involved with this film was like, oh my god, again

817
00:42:43,360 --> 00:42:45,400
Speaker 1: and again the same thing of like, I've got to

818
00:42:46,120 --> 00:42:49,080
Speaker 1: get this really, really right, because I don't want to

819
00:42:49,120 --> 00:42:51,760
Speaker 1: offend people, and I don't want people to be upset,

820
00:42:51,800 --> 00:42:53,600
Speaker 1: and I don't want people to think that it should

821
00:42:53,600 --> 00:42:55,239
Speaker 1: have been played by someone else Like that, to me

822
00:42:55,400 --> 00:42:58,040
Speaker 1: was the biggest fear. But just the nature of what

823
00:42:58,080 --> 00:43:02,160
Speaker 1: the film was was discussing and dissecting and tackling and

824
00:43:04,040 --> 00:43:08,520
Speaker 1: everything to do with its storyline, female subjugation, trafficking like

825
00:43:08,600 --> 00:43:11,439
Speaker 1: it was just I couldn't believe that Marvel were making

826
00:43:11,440 --> 00:43:15,480
Speaker 1: a movie like that and being very openly We were

827
00:43:15,520 --> 00:43:20,000
Speaker 1: openly discussing all of those in the script amongst our characters,

828
00:43:20,360 --> 00:43:23,000
Speaker 1: and Scarlett obviously was very much involved in the movie

829
00:43:23,040 --> 00:43:25,480
Speaker 1: and producer and actor in it, and then we had

830
00:43:25,560 --> 00:43:27,680
Speaker 1: Kate Shortland, who was just a fantastic director. It just

831
00:43:27,719 --> 00:43:31,640
Speaker 1: truly felt like one of those projects that wasn't just

832
00:43:31,840 --> 00:43:34,560
Speaker 1: doing a superhero movie. It was like we are we

833
00:43:34,640 --> 00:43:38,080
Speaker 1: are discussing a lot, and we are challenging a lot,

834
00:43:38,239 --> 00:43:41,200
Speaker 1: and it was terrifying stepping into it. But I'm so

835
00:43:41,200 --> 00:43:43,840
Speaker 1: so glad that I did. Also just the family that

836
00:43:43,880 --> 00:43:47,040
Speaker 1: I got from it, family of fans, family of all

837
00:43:47,080 --> 00:43:50,360
Speaker 1: the people at MCU. Did Scarlett share anything with you?

838
00:43:50,400 --> 00:43:53,080
Speaker 1: I mean, obviously, I mean something that you that you're

839
00:43:53,120 --> 00:43:55,640
Speaker 1: willing to share. But did she knew that you were

840
00:43:55,640 --> 00:43:59,040
Speaker 1: going to be stepping into these enormous shoes, obviously not

841
00:43:59,080 --> 00:44:01,719
Speaker 1: taking over her care, but entering the Marvel universe in

842
00:44:01,719 --> 00:44:04,880
Speaker 1: a giant way? Did she did? She? Did she guide

843
00:44:04,880 --> 00:44:07,480
Speaker 1: you in any way? The best thing that I learned

844
00:44:07,520 --> 00:44:09,319
Speaker 1: from her, and it was never ever. I mean, I'm

845
00:44:09,360 --> 00:44:12,400
Speaker 1: sure that there were specific things that she told me,

846
00:44:12,440 --> 00:44:15,200
Speaker 1: but I think the coolest thing about watching a woman

847
00:44:15,239 --> 00:44:18,080
Speaker 1: that has been in the industry ever since she was

848
00:44:18,080 --> 00:44:22,360
Speaker 1: a child and also in the MCUM for a decade,

849
00:44:22,520 --> 00:44:29,840
Speaker 1: was just like her her consistency of needing to have

850
00:44:30,000 --> 00:44:33,800
Speaker 1: fun and needing to enjoy the whole process, because otherwise

851
00:44:33,840 --> 00:44:35,759
Speaker 1: I think you could possibly get too bogged down with

852
00:44:35,800 --> 00:44:38,320
Speaker 1: it and it become too serious and it become too daunting.

853
00:44:38,880 --> 00:44:41,160
Speaker 1: But I think for me it was just really when

854
00:44:41,160 --> 00:44:43,120
Speaker 1: I stepped into the role, I was so stressed, and

855
00:44:43,120 --> 00:44:46,520
Speaker 1: I was so eager to be perfect, and eager to

856
00:44:46,560 --> 00:44:48,719
Speaker 1: train really, really hard and to learn how to do

857
00:44:48,760 --> 00:44:51,600
Speaker 1: the in the middle of the air flip role with

858
00:44:51,640 --> 00:44:54,400
Speaker 1: my dagger out, and I really wanted to do and

859
00:44:54,480 --> 00:44:57,080
Speaker 1: try and do all of my stunts and respect the

860
00:44:57,120 --> 00:45:00,359
Speaker 1: craft and respect the stunties and give it my shot.

861
00:45:00,400 --> 00:45:03,000
Speaker 1: And I just remember her from the very beginning being like,

862
00:45:03,360 --> 00:45:07,319
Speaker 1: you've got to enjoy it. You've you've got to let

863
00:45:07,320 --> 00:45:09,680
Speaker 1: the professionals do the things that they are professional for.

864
00:45:10,120 --> 00:45:11,799
Speaker 1: So like, no, you're not going to be jumping out

865
00:45:11,800 --> 00:45:14,920
Speaker 1: of a building and be just to enjoy the process.

866
00:45:15,080 --> 00:45:18,320
Speaker 1: Don't don't don't let it eat you, don't be don't

867
00:45:18,320 --> 00:45:21,040
Speaker 1: be nervous about about the world that you're stepping into,

868
00:45:21,120 --> 00:45:24,400
Speaker 1: and know that these these fans will love you like that.

869
00:45:24,560 --> 00:45:26,839
Speaker 1: That's that's why it's so wonderful. I remember we went

870
00:45:26,880 --> 00:45:30,759
Speaker 1: to Comic Con and it was so terrified because we'd

871
00:45:30,800 --> 00:45:32,920
Speaker 1: be walking around with masks on or going around with

872
00:45:32,960 --> 00:45:35,160
Speaker 1: cars and just the crowds of people that were there,

873
00:45:36,360 --> 00:45:38,719
Speaker 1: and we'd only just kind of release the information that

874
00:45:38,760 --> 00:45:40,960
Speaker 1: we were shooting and that it was me, and I

875
00:45:41,040 --> 00:45:43,680
Speaker 1: remember being so nervous that people weren't going to like

876
00:45:43,840 --> 00:45:45,879
Speaker 1: it or like me or want me to be the role.

877
00:45:47,239 --> 00:45:49,520
Speaker 1: And I remember Scarlett and I would just hold hands

878
00:45:49,560 --> 00:45:51,400
Speaker 1: behind the stage before we went out, and I was

879
00:45:51,400 --> 00:45:53,720
Speaker 1: just holding her hand and we were watching our trailer

880
00:45:53,760 --> 00:45:55,799
Speaker 1: go and it was nice to see that she was

881
00:45:56,040 --> 00:46:00,279
Speaker 1: nervous too. That was like quite cool. And then going

882
00:46:00,280 --> 00:46:03,120
Speaker 1: out and just this sea of people that I couldn't

883
00:46:03,160 --> 00:46:05,759
Speaker 1: see the back wall of the warehouse. I could not

884
00:46:05,800 --> 00:46:09,640
Speaker 1: talk it. Yeah, yeah, yeah, I could not see the

885
00:46:09,640 --> 00:46:14,560
Speaker 1: back wall. And it was just unbelievable. The instant adoration

886
00:46:14,600 --> 00:46:16,560
Speaker 1: that all these people had for our movie that hadn't

887
00:46:16,600 --> 00:46:18,360
Speaker 1: even come out yet and we only showed them a

888
00:46:18,400 --> 00:46:21,640
Speaker 1: small trailer was like truly. I mean, it's because of

889
00:46:21,680 --> 00:46:24,280
Speaker 1: that love and that support that makes doing those massive

890
00:46:24,320 --> 00:46:27,319
Speaker 1: movies I suppose possible. But shooting it was nuts. We

891
00:46:27,400 --> 00:46:29,239
Speaker 1: shot in so many different countries. And by the way,

892
00:46:29,280 --> 00:46:32,879
Speaker 1: you you loved being with the stunt I loved it,

893
00:46:33,040 --> 00:46:35,640
Speaker 1: and they loved you. And you really trained hard. And

894
00:46:36,440 --> 00:46:39,960
Speaker 1: even though your your stunt double did incredible work for

895
00:46:40,080 --> 00:46:42,680
Speaker 1: you, you you did, Taylor, Yeah, you believe you did do

896
00:46:42,719 --> 00:46:44,759
Speaker 1: a couple of things. You did run, you did run

897
00:46:44,840 --> 00:46:49,879
Speaker 1: down that wall, but I did. I also loved doing

898
00:46:49,920 --> 00:46:51,880
Speaker 1: It's so much fun and hanging out with stunties is

899
00:46:51,920 --> 00:46:54,680
Speaker 1: the coolest because, like the English call them stunties. That's fun,

900
00:46:54,760 --> 00:46:57,960
Speaker 1: that's amazing. We need to upgrade our language here in

901
00:46:58,000 --> 00:47:02,160
Speaker 1: the stunts better. And you know Flord's I can tell

902
00:47:02,239 --> 00:47:05,680
Speaker 1: you that I think like you and Jonathan Majors feel

903
00:47:05,680 --> 00:47:08,239
Speaker 1: like the feature of Marvel. I think these are the

904
00:47:08,239 --> 00:47:11,680
Speaker 1: two characters that people have really globbed onto the most

905
00:47:11,680 --> 00:47:13,800
Speaker 1: as we moved from like phase four to phase five,

906
00:47:13,920 --> 00:47:16,560
Speaker 1: and we're seeing it like grow and everything. I know

907
00:47:16,640 --> 00:47:21,359
Speaker 1: there's this like especially because I think villains are sort

908
00:47:21,400 --> 00:47:24,279
Speaker 1: of the new way for Marvel. Like we've had all

909
00:47:24,280 --> 00:47:27,160
Speaker 1: the iconic heroes and they're very shiny vestments and everything.

910
00:47:27,440 --> 00:47:29,480
Speaker 1: It's fun to get some of it, like when you

911
00:47:29,560 --> 00:47:33,640
Speaker 1: did Hawkeye. Like watching you with Haley was so much fun.

912
00:47:33,719 --> 00:47:37,480
Speaker 1: I was like, this the level of like cool badass

913
00:47:37,560 --> 00:47:41,479
Speaker 1: girls who feel very grounded. You know. I think there's

914
00:47:41,480 --> 00:47:45,600
Speaker 1: something about specifically those two characters. Those two characters specifically

915
00:47:45,600 --> 00:47:48,160
Speaker 1: feel like, oh, hey, yes, we're like women and it's

916
00:47:48,360 --> 00:47:50,799
Speaker 1: cool that we're here, but that has almost nothing to

917
00:47:50,840 --> 00:47:52,839
Speaker 1: do with our story. It's we're not here because we're women.

918
00:47:52,880 --> 00:47:55,640
Speaker 1: We're not here to try to like prove anything. We're

919
00:47:55,640 --> 00:47:58,880
Speaker 1: just badasses independently of anything else. And that's been really

920
00:47:58,960 --> 00:48:00,560
Speaker 1: fun to watch. I hope we get more of the

921
00:48:00,560 --> 00:48:04,080
Speaker 1: two of you. Oh well, that was so fun to do.

922
00:48:04,120 --> 00:48:07,239
Speaker 1: And I had such a small stint of shooting on

923
00:48:07,280 --> 00:48:08,880
Speaker 1: that show. I mean they were going on for months

924
00:48:08,880 --> 00:48:11,920
Speaker 1: and I just popped in and did some la. It

925
00:48:12,000 --> 00:48:15,160
Speaker 1: was a very funny Florence story. Um. So we she

926
00:48:15,840 --> 00:48:20,640
Speaker 1: shot Hawkeye um and that sequence at the Rockefeller Center

927
00:48:20,880 --> 00:48:24,400
Speaker 1: ice rink in Atlanta on a sound stage where they

928
00:48:24,400 --> 00:48:28,839
Speaker 1: had recreated the giant thing. And she shot that whole

929
00:48:28,880 --> 00:48:31,520
Speaker 1: sequence on a stage in Atlanta. They made the whole

930
00:48:31,520 --> 00:48:34,279
Speaker 1: thing to scale. Well not not all of thirty Rock,

931
00:48:34,320 --> 00:48:40,040
Speaker 1: but no, but the rink they built thirty Rockefeller Center. Yeah,

932
00:48:40,239 --> 00:48:42,720
Speaker 1: the rink and the walls would get the blue walls,

933
00:48:42,800 --> 00:48:45,879
Speaker 1: you know, all around. It was enormous. But anyway, so,

934
00:48:46,160 --> 00:48:48,200
Speaker 1: but she had never been to the real ice rink

935
00:48:48,239 --> 00:48:51,399
Speaker 1: at thirty Rock. And and when we wrapped was when

936
00:48:51,400 --> 00:48:54,640
Speaker 1: we wrapped a good person. Yeah, we wrapped a good person.

937
00:48:55,160 --> 00:48:57,520
Speaker 1: And it came to you, and Florence was like, I

938
00:48:57,600 --> 00:48:59,719
Speaker 1: really want to go to the ice rink because I

939
00:49:00,040 --> 00:49:06,160
Speaker 1: into it on the stage talent you we were, we

940
00:49:06,160 --> 00:49:09,240
Speaker 1: were here with our friends justin carry and before we'd

941
00:49:09,280 --> 00:49:12,239
Speaker 1: all go back to our corners of the world. We

942
00:49:12,239 --> 00:49:14,279
Speaker 1: were like, okay, well, let's have a few Christmasy days.

943
00:49:14,320 --> 00:49:16,279
Speaker 1: Let's go to a Christmas market. Let's go and have

944
00:49:16,320 --> 00:49:19,480
Speaker 1: a hot chocolate. And Zach was like, I know what

945
00:49:19,520 --> 00:49:23,160
Speaker 1: we can do. And Zach and Carry booked us slots

946
00:49:23,200 --> 00:49:26,839
Speaker 1: to go ice skating. Carry did. But it was like

947
00:49:26,840 --> 00:49:28,960
Speaker 1: an exciting thing that we all did. And we were

948
00:49:29,000 --> 00:49:31,320
Speaker 1: walking up and I'd kind of forgotten about it, and

949
00:49:31,320 --> 00:49:33,040
Speaker 1: as we were walking it was so Christmasy and We're

950
00:49:33,080 --> 00:49:35,560
Speaker 1: all holding hands and it was just like so sweet.

951
00:49:35,880 --> 00:49:37,960
Speaker 1: And then as we came up to the ice skating rink,

952
00:49:38,040 --> 00:49:41,800
Speaker 1: I was like, before we put on our ice skates

953
00:49:41,840 --> 00:49:44,799
Speaker 1: and I go, guys, this is where I shot my

954
00:49:44,880 --> 00:49:49,799
Speaker 1: action scene with Jerry Runner and everything like everything was

955
00:49:49,840 --> 00:49:51,319
Speaker 1: to scale. I was like, yeah, so this is where

956
00:49:51,360 --> 00:49:53,399
Speaker 1: the star came down on the ice and I kicked

957
00:49:53,440 --> 00:49:56,279
Speaker 1: him in the face. And even the fountain. I was like,

958
00:49:56,320 --> 00:49:58,560
Speaker 1: I have a picture of me by the fountain. Yeah.

959
00:49:58,800 --> 00:50:01,719
Speaker 1: She was like looking around the real dirty rock. She's like,

960
00:50:01,840 --> 00:50:17,920
Speaker 1: I've been here, but in Atlanta. Movie making well with

961
00:50:17,960 --> 00:50:20,360
Speaker 1: our last few minutes, Um, let's just circle back to

962
00:50:20,440 --> 00:50:23,879
Speaker 1: our movie A Good Person, Um, which is coming out

963
00:50:23,960 --> 00:50:28,400
Speaker 1: this Friday in theaters. Um, we hope. I hope, Florence,

964
00:50:28,440 --> 00:50:30,120
Speaker 1: and I hope that you go and check it out

965
00:50:30,160 --> 00:50:32,600
Speaker 1: in movie theaters. Oh you'll love it. I really think

966
00:50:32,600 --> 00:50:34,839
Speaker 1: you will, and I will hopefully affect you in all

967
00:50:34,880 --> 00:50:37,600
Speaker 1: the ways that you want it to. Um, I do think.

968
00:50:37,640 --> 00:50:39,920
Speaker 1: My my just sales pitch for seeing in the theater

969
00:50:40,160 --> 00:50:44,200
Speaker 1: is there is something really magical I believe in sharing

970
00:50:44,800 --> 00:50:48,640
Speaker 1: what this movie is about in a room full of people. Um.

971
00:50:48,920 --> 00:50:50,920
Speaker 1: You know, we've been traveling the country. I've been, I've

972
00:50:50,960 --> 00:50:53,560
Speaker 1: just been on a major tour, and I'm watching it

973
00:50:53,600 --> 00:50:57,560
Speaker 1: with audiences, and there's just something magical about when it's

974
00:50:57,600 --> 00:51:01,239
Speaker 1: pin drop silent, of course, emotional times when you hear

975
00:51:01,360 --> 00:51:04,360
Speaker 1: people sniffling, then when there's humor and everyone has a

976
00:51:04,440 --> 00:51:10,160
Speaker 1: laugh release And you know, people often say there's not

977
00:51:10,280 --> 00:51:13,719
Speaker 1: enough movies for grown ups out there. Well, I really

978
00:51:13,719 --> 00:51:16,480
Speaker 1: tried to make one. And that's my plea for you

979
00:51:16,520 --> 00:51:19,400
Speaker 1: to please check it out in theaters. And Joell, did

980
00:51:19,400 --> 00:51:22,520
Speaker 1: you have any more questions as a smart entertainment journalists

981
00:51:22,560 --> 00:51:26,600
Speaker 1: you wanted to ask us? I do, And again, Florence,

982
00:51:26,600 --> 00:51:28,880
Speaker 1: correct me if I'm wrong, But this is your first

983
00:51:28,880 --> 00:51:33,600
Speaker 1: producing credit right, it is okay, So you look with

984
00:51:33,640 --> 00:51:37,160
Speaker 1: a ton of women directors in your career. You talked

985
00:51:37,280 --> 00:51:40,839
Speaker 1: throughout this interview about your love and passion of just

986
00:51:40,880 --> 00:51:43,080
Speaker 1: being on set and learning all of the little jobs.

987
00:51:43,400 --> 00:51:45,600
Speaker 1: What did you love about producing? What are you excited

988
00:51:45,640 --> 00:51:48,000
Speaker 1: to do again? And have you considered directing at all?

989
00:51:48,719 --> 00:51:51,160
Speaker 1: That is such a good question, Joel, you nailed it.

990
00:51:51,200 --> 00:51:53,879
Speaker 1: They're also ready. Thank you. It's funny I have been

991
00:51:53,920 --> 00:51:58,200
Speaker 1: dipping my toe in the producing world. I think it's

992
00:51:58,200 --> 00:52:00,759
Speaker 1: something that I naturally end up doing anyway it on

993
00:52:00,760 --> 00:52:04,120
Speaker 1: a film, Like I want to be involved in in things,

994
00:52:04,239 --> 00:52:06,960
Speaker 1: even when obviously I've seen I've only got like the

995
00:52:07,000 --> 00:52:09,920
Speaker 1: finished script and I can only now kind of help

996
00:52:10,000 --> 00:52:12,000
Speaker 1: when we're shooting. But I think naturally, of the years,

997
00:52:12,040 --> 00:52:15,520
Speaker 1: I've always wanted to tweak things that aren't right or

998
00:52:15,560 --> 00:52:18,560
Speaker 1: are right or could be better, or have a saying

999
00:52:18,800 --> 00:52:20,759
Speaker 1: in who do we think should be cast for this?

1000
00:52:20,960 --> 00:52:23,640
Speaker 1: Like it's something that I very much, not because I

1001
00:52:23,680 --> 00:52:25,560
Speaker 1: want control, but because I want to be a part

1002
00:52:25,600 --> 00:52:28,880
Speaker 1: of making it perfect. Like I really do want every

1003
00:52:28,920 --> 00:52:31,960
Speaker 1: line to be fantastic for everyone, And I think I

1004
00:52:32,120 --> 00:52:37,120
Speaker 1: have a good handle on dialogue. I think I'm very

1005
00:52:37,160 --> 00:52:41,000
Speaker 1: I love when it makes sense and everything clicks. And

1006
00:52:41,640 --> 00:52:45,560
Speaker 1: I think with this movie, when we were working on

1007
00:52:45,600 --> 00:52:48,920
Speaker 1: it together, we had been discussing some character arcs or

1008
00:52:48,920 --> 00:52:52,040
Speaker 1: something and we were just chatting it going through it,

1009
00:52:52,520 --> 00:52:55,000
Speaker 1: and I was like, Zack, I think I'm a producer

1010
00:52:55,040 --> 00:52:57,840
Speaker 1: on this movie and he was like ah, and I

1011
00:52:57,880 --> 00:53:00,000
Speaker 1: was like, no, I think I am. I'm a producer

1012
00:53:00,040 --> 00:53:02,480
Speaker 1: here on this movie. And then he was like, yeah,

1013
00:53:02,480 --> 00:53:04,160
Speaker 1: of course you can be a producer on the movie,

1014
00:53:04,160 --> 00:53:07,520
Speaker 1: and and so. But also just chatting about like casting,

1015
00:53:07,600 --> 00:53:10,440
Speaker 1: I love. I love figuring out who's going to be

1016
00:53:10,520 --> 00:53:12,759
Speaker 1: right for what and who deserves to have a role

1017
00:53:12,800 --> 00:53:14,560
Speaker 1: like that. I think like one thing that was amazing

1018
00:53:14,560 --> 00:53:18,200
Speaker 1: when sorry interrupt you, but she goes, she goes, you know,

1019
00:53:18,280 --> 00:53:21,400
Speaker 1: Florence's friends with Alex Wolfe, and we had this amazing

1020
00:53:21,560 --> 00:53:25,520
Speaker 1: scene for someone to come in and do and she goes,

1021
00:53:25,560 --> 00:53:27,200
Speaker 1: do you think Alex would do it? And I go,

1022
00:53:27,239 --> 00:53:29,640
Speaker 1: oh my god, Alex Wolfe would be perfect for that scene.

1023
00:53:29,640 --> 00:53:31,799
Speaker 1: And obviously so many fans would love to see you

1024
00:53:31,840 --> 00:53:34,160
Speaker 1: and Alex Wolfe go toe to toe in a scene.

1025
00:53:34,719 --> 00:53:36,399
Speaker 1: And she's like, well, let me let me ask him,

1026
00:53:36,480 --> 00:53:38,080
Speaker 1: and she asked him and Alex. She was like, oh

1027
00:53:38,080 --> 00:53:40,160
Speaker 1: my god, I like Zax work a lot. I love

1028
00:53:40,200 --> 00:53:42,560
Speaker 1: you like I'm in and she hangs up with him.

1029
00:53:42,600 --> 00:53:47,320
Speaker 1: She's like, I'm the best producer. Yeah. I was getting

1030
00:53:47,560 --> 00:53:50,319
Speaker 1: I was getting roles in and every time I would

1031
00:53:50,320 --> 00:53:52,120
Speaker 1: do something, I put the phone down and be like,

1032
00:53:52,239 --> 00:53:57,520
Speaker 1: z I'm a producer. But she was. She was not

1033
00:53:57,600 --> 00:54:00,200
Speaker 1: only was she really helpful in casting, but a lot

1034
00:54:00,239 --> 00:54:02,719
Speaker 1: of script stuff. I mean talk about the cutting of

1035
00:54:02,760 --> 00:54:06,399
Speaker 1: the hair, conversation, cutting of the hair. Yeah, I wanted that.

1036
00:54:06,440 --> 00:54:09,520
Speaker 1: I wanted to do that. I just wanted I think

1037
00:54:10,040 --> 00:54:13,200
Speaker 1: I think when you're that low, there are so many

1038
00:54:13,719 --> 00:54:16,520
Speaker 1: levels of trying to fix yourself or trying to change

1039
00:54:16,520 --> 00:54:20,239
Speaker 1: something because you're kind of doing anything. Then look at

1040
00:54:20,320 --> 00:54:21,800
Speaker 1: what it is that you are and what it is

1041
00:54:21,840 --> 00:54:24,720
Speaker 1: that you actually need to change. And I just wanted

1042
00:54:24,760 --> 00:54:28,359
Speaker 1: her to be like doing everything and anything possible, then

1043
00:54:28,520 --> 00:54:33,200
Speaker 1: actually figure out what's wrong with her and what she

1044
00:54:33,239 --> 00:54:36,120
Speaker 1: actually thinks of herself. And I think for me also

1045
00:54:36,520 --> 00:54:38,760
Speaker 1: chopping the hair now watching it and seeing what people

1046
00:54:38,800 --> 00:54:41,719
Speaker 1: have to say about it, I think getting rid of

1047
00:54:42,120 --> 00:54:45,319
Speaker 1: the vanity is an amazing aspect to Alison, that it's

1048
00:54:45,360 --> 00:54:50,400
Speaker 1: just gone like her her female long hair, her womanly

1049
00:54:50,480 --> 00:54:53,920
Speaker 1: long hair is gone, and she butchered it and she

1050
00:54:54,000 --> 00:54:57,120
Speaker 1: doesn't care, and it's like it's it's at a new

1051
00:54:57,320 --> 00:54:59,320
Speaker 1: level of low. And I think also for an audience

1052
00:54:59,360 --> 00:55:02,560
Speaker 1: to watch someone one in that state of distress for

1053
00:55:02,640 --> 00:55:08,000
Speaker 1: a whole movie, the visual, I suppose it being so

1054
00:55:08,320 --> 00:55:14,279
Speaker 1: pleasing to watch the visual of her vanity being destroyed

1055
00:55:14,640 --> 00:55:17,960
Speaker 1: by herself, and that you're not getting distracted by anything.

1056
00:55:18,000 --> 00:55:21,680
Speaker 1: You're not getting distracted by beauty or if it's esthetically pleasing,

1057
00:55:21,760 --> 00:55:23,239
Speaker 1: or if her hair is in a bun or a

1058
00:55:23,239 --> 00:55:27,160
Speaker 1: ponytail or platt or whatever. It's like you just get

1059
00:55:27,200 --> 00:55:30,439
Speaker 1: to see this person on rock bottom with a raw

1060
00:55:30,520 --> 00:55:37,880
Speaker 1: face and raw hair basically just falling. And then and

1061
00:55:37,960 --> 00:55:39,880
Speaker 1: then when she came to me with that, I was like,

1062
00:55:40,000 --> 00:55:43,439
Speaker 1: that is so brilliant and I love it. Here's the thing.

1063
00:55:44,280 --> 00:55:47,080
Speaker 1: We're shooting in twenty six days, and we shoot completely

1064
00:55:47,080 --> 00:55:49,440
Speaker 1: out of order, as you as you we tell you,

1065
00:55:49,440 --> 00:55:51,839
Speaker 1: you folks who aren't an industry, everything's shot out of order.

1066
00:55:52,120 --> 00:55:56,560
Speaker 1: And I said, Florence, that's brilliant, but logistically really impossible.

1067
00:55:57,280 --> 00:55:59,919
Speaker 1: And she took a beat and she's like, you'll figure

1068
00:56:00,000 --> 00:56:04,239
Speaker 1: it out. So then I go. So then I I

1069
00:56:04,440 --> 00:56:06,080
Speaker 1: go to the team and I'm like, you know, the

1070
00:56:06,120 --> 00:56:09,160
Speaker 1: first ad who's in charge of the schedule, and everyone

1071
00:56:09,320 --> 00:56:12,319
Speaker 1: my amazing simatarier for Maro Furi, and you know when

1072
00:56:12,320 --> 00:56:14,480
Speaker 1: the producer were all huddled up and I'm like, Florence

1073
00:56:14,520 --> 00:56:16,800
Speaker 1: has this great idea. Don't don't freak out. But I

1074
00:56:17,040 --> 00:56:19,080
Speaker 1: kind of like it. But I know it's gonna be hard,

1075
00:56:19,120 --> 00:56:21,400
Speaker 1: but let's so they huddle for like a couple of

1076
00:56:21,480 --> 00:56:24,760
Speaker 1: days and they're like, Zach, Zach, here's all the reasons

1077
00:56:24,840 --> 00:56:26,440
Speaker 1: why that's not going to work. And so I go

1078
00:56:26,520 --> 00:56:28,960
Speaker 1: back to Florence and I'm like, Florence, we tried, but

1079
00:56:29,040 --> 00:56:31,480
Speaker 1: it's just it's brilliant. It's just not going to work

1080
00:56:31,520 --> 00:56:34,080
Speaker 1: on our budget or our scale. She goes, you'll figure

1081
00:56:34,120 --> 00:56:40,040
Speaker 1: it out and um, and so it was her. Well,

1082
00:56:40,080 --> 00:56:42,600
Speaker 1: there's a great it made me think of Um, there's

1083
00:56:42,640 --> 00:56:46,279
Speaker 1: like that awesome Industrial Light and Magic documentary. It's very

1084
00:56:46,280 --> 00:56:49,560
Speaker 1: George las Yes, I really recommend that to anyone who

1085
00:56:49,680 --> 00:56:53,400
Speaker 1: hasn't seen it. But in that documentary they talk about

1086
00:56:53,480 --> 00:56:56,560
Speaker 1: how George when he would come to them and he

1087
00:56:56,640 --> 00:56:58,799
Speaker 1: would say, I want you to do some insane thing,

1088
00:56:58,920 --> 00:57:02,080
Speaker 1: and the animators would be like, that's not possible, and

1089
00:57:02,200 --> 00:57:05,080
Speaker 1: he would just go think about it, right, is that

1090
00:57:05,080 --> 00:57:08,319
Speaker 1: what he said, think on it. Yeah, and he would

1091
00:57:08,360 --> 00:57:10,239
Speaker 1: go just think about it, and they could be and

1092
00:57:10,280 --> 00:57:12,840
Speaker 1: then come back, Oh, George, we did huddle, this is impossible.

1093
00:57:12,920 --> 00:57:14,640
Speaker 1: He goes, all right, just just keep thinking about it.

1094
00:57:15,160 --> 00:57:17,040
Speaker 1: And and anyway, the point is, I want to thank

1095
00:57:17,080 --> 00:57:19,360
Speaker 1: Florence because it did push us to figure it out.

1096
00:57:19,400 --> 00:57:22,600
Speaker 1: And I didn't want to use wigs because wigs. Wigs

1097
00:57:22,600 --> 00:57:24,640
Speaker 1: are pretty bad always the moment, the whole point, she

1098
00:57:24,760 --> 00:57:27,320
Speaker 1: chops her hair and we wanted her to. We wanted

1099
00:57:27,360 --> 00:57:29,280
Speaker 1: to really chop her hair off on camera. And we

1100
00:57:29,480 --> 00:57:32,680
Speaker 1: also didn't want to use wigs because wigs, even with

1101
00:57:32,760 --> 00:57:35,080
Speaker 1: a high budget are not great. Wigs on a low

1102
00:57:35,120 --> 00:57:38,080
Speaker 1: budget are really bad. Yeah, and um, and so when

1103
00:57:38,120 --> 00:57:41,240
Speaker 1: you see her cutting her hair off, it's really Florence

1104
00:57:41,320 --> 00:57:44,000
Speaker 1: cutting her hair off. Um. Also, just so you know,

1105
00:57:44,280 --> 00:57:47,880
Speaker 1: the whole week up to that, everybody was shit scared.

1106
00:57:48,200 --> 00:57:50,400
Speaker 1: Zach was really worried. He was like, sure, like, how

1107
00:57:50,480 --> 00:57:52,960
Speaker 1: short are we going, Let's do practice run, Let's do

1108
00:57:53,000 --> 00:57:55,280
Speaker 1: a practice run. And everybody would be checking in with

1109
00:57:55,400 --> 00:57:57,680
Speaker 1: me and being like, are you okay? You nervous about it,

1110
00:57:57,840 --> 00:58:00,439
Speaker 1: be like no, I'm so excited. And then we started

1111
00:58:00,480 --> 00:58:02,520
Speaker 1: to get a bit confused because I was like completely

1112
00:58:02,560 --> 00:58:05,320
Speaker 1: thrilled about it, and even on the days, I was like, okay,

1113
00:58:05,360 --> 00:58:06,960
Speaker 1: so I just want to go over, like where are

1114
00:58:07,000 --> 00:58:09,240
Speaker 1: we going? Well, the hairstylus, the hair stylus came in

1115
00:58:09,280 --> 00:58:11,360
Speaker 1: and I was like, all right, just sure where she

1116
00:58:11,480 --> 00:58:13,560
Speaker 1: should cut and he was like, she knows, she knows, Like,

1117
00:58:13,840 --> 00:58:17,800
Speaker 1: but just let me because you only you only have

1118
00:58:18,320 --> 00:58:21,120
Speaker 1: you know, take one. And we actually had to cut

1119
00:58:21,160 --> 00:58:24,160
Speaker 1: a port in the wall of this house because we

1120
00:58:24,680 --> 00:58:28,880
Speaker 1: every single moment of this movie is shot on locations.

1121
00:58:28,960 --> 00:58:30,800
Speaker 1: There's no sets because we just didn't have the money

1122
00:58:30,840 --> 00:58:34,240
Speaker 1: for it, and so we took the medicine cabinet off

1123
00:58:34,400 --> 00:58:36,280
Speaker 1: of the wall, and there's was no way to get

1124
00:58:36,320 --> 00:58:38,480
Speaker 1: the shot we wanted. So we went to the homeowner

1125
00:58:38,560 --> 00:58:40,720
Speaker 1: and we were like, can we cut a hole in

1126
00:58:40,800 --> 00:58:42,840
Speaker 1: this wall. We're obviously patch it and make it look

1127
00:58:43,000 --> 00:58:44,720
Speaker 1: brand new, but we in order to get the shot

1128
00:58:44,800 --> 00:58:46,840
Speaker 1: we need, we need to cut what's called a camera

1129
00:58:46,960 --> 00:58:50,240
Speaker 1: port in this wall. And they were like, okay, as

1130
00:58:50,320 --> 00:58:52,200
Speaker 1: long as you promised to restore it. And we were like,

1131
00:58:52,240 --> 00:58:53,960
Speaker 1: oh my god, we can't believe they said yes. So,

1132
00:58:55,560 --> 00:58:58,880
Speaker 1: so in order to get those shots of Florence looking

1133
00:58:58,920 --> 00:59:01,280
Speaker 1: in the mirror like like she does several times in

1134
00:59:01,320 --> 00:59:06,520
Speaker 1: the movie, just a little for those of you filmmaking

1135
00:59:06,560 --> 00:59:08,080
Speaker 1: geeks out there, we had to cut a hole in

1136
00:59:08,120 --> 00:59:11,480
Speaker 1: the wall. But um, it turned out perfectly and it

1137
00:59:11,600 --> 00:59:13,120
Speaker 1: was such a good choice. And I was just just

1138
00:59:13,400 --> 00:59:16,360
Speaker 1: one of many examples of Florence and I'm a producer saying,

1139
00:59:18,400 --> 00:59:20,320
Speaker 1: and you did a great job. I'd love to keep

1140
00:59:21,280 --> 00:59:23,200
Speaker 1: I love it, yeah, and talk about filming. I definitely

1141
00:59:23,520 --> 00:59:26,840
Speaker 1: have told her that she should be a director one

1142
00:59:26,920 --> 00:59:29,840
Speaker 1: day and fold that into hers be a director. I

1143
00:59:30,400 --> 00:59:32,800
Speaker 1: think I need to learn a bit more. I need

1144
00:59:32,880 --> 00:59:36,880
Speaker 1: to soak it up. It's such a it's such a

1145
00:59:37,040 --> 00:59:40,280
Speaker 1: tricky position to have and to lead, and to be

1146
00:59:40,400 --> 00:59:43,200
Speaker 1: a leader on a film set, you really have to

1147
00:59:43,280 --> 00:59:45,760
Speaker 1: be like you have to know your shit, and if

1148
00:59:45,800 --> 00:59:48,520
Speaker 1: you don't, UM, a lot of people can get, you know,

1149
00:59:48,680 --> 00:59:51,120
Speaker 1: twisted up by that. And I think for me, I

1150
00:59:51,320 --> 00:59:54,440
Speaker 1: don't want to UM. I don't want to go in

1151
00:59:54,560 --> 00:59:56,880
Speaker 1: and not know and then and and affect an actor

1152
00:59:56,920 --> 00:59:59,760
Speaker 1: badly like you just it's something that you really should

1153
01:00:00,280 --> 01:00:01,680
Speaker 1: go in knowing that you can do, so I think

1154
01:00:01,680 --> 01:00:03,640
Speaker 1: I'm just gonna do a bit more learning. Well, if

1155
01:00:03,680 --> 01:00:07,520
Speaker 1: you ever want to take the Zach Braff Camera Geek

1156
01:00:08,160 --> 01:00:12,200
Speaker 1: Camera Toys workshop, I will give you a one on one.

1157
01:00:12,520 --> 01:00:17,240
Speaker 1: Thank you, because I'm obsessed with it all. I hope

1158
01:00:17,280 --> 01:00:19,880
Speaker 1: you direct because not only you have a great vision

1159
01:00:20,000 --> 01:00:24,320
Speaker 1: and intelligence and clearer knowledge of acting, but you're a

1160
01:00:24,400 --> 01:00:28,160
Speaker 1: great leader and I think you'd be a fantastic filmmaker.

1161
01:00:28,920 --> 01:00:32,280
Speaker 1: So thank you guys for tuning in to this special

1162
01:00:32,400 --> 01:00:35,360
Speaker 1: conversation with Florence Pugh. Our movie A Good Person comes

1163
01:00:35,400 --> 01:00:41,240
Speaker 1: out this Friday. It comes out everywhere in the United States, Canada,

1164
01:00:41,360 --> 01:00:47,480
Speaker 1: and the United Kingdom on Friday the twenty fourth. Really, so,

1165
01:00:48,080 --> 01:00:49,760
Speaker 1: I know of getting a lot of people on social

1166
01:00:49,800 --> 01:00:51,800
Speaker 1: media saying when in my country? When in my country?

1167
01:00:51,800 --> 01:00:55,680
Speaker 1: I promise you it's calling coming to all Australia. I

1168
01:00:55,800 --> 01:00:58,960
Speaker 1: know his end of April, but I can all I

1169
01:00:59,040 --> 01:01:02,240
Speaker 1: can say specific now is this weekend in the United Kingdom.

1170
01:01:02,280 --> 01:01:05,880
Speaker 1: In the United States. Wow, Um, it's on many screens.

1171
01:01:05,920 --> 01:01:08,640
Speaker 1: It's not one of those ones that's on like one screen.

1172
01:01:08,720 --> 01:01:11,040
Speaker 1: It's on lots of screens. So please go check it

1173
01:01:11,080 --> 01:01:13,440
Speaker 1: out and thank you Joel and Danald for this awesome colors,

1174
01:01:13,880 --> 01:01:17,480
Speaker 1: A lovely chat. Of course. It was lovely seeing you

1175
01:01:17,600 --> 01:01:22,400
Speaker 1: guys again. I used to see during the pandemic randomly

1176
01:01:22,680 --> 01:01:24,880
Speaker 1: every now and then. Remember when you came on and

1177
01:01:25,200 --> 01:01:28,120
Speaker 1: made or remember when she came on and her martini.

1178
01:01:28,240 --> 01:01:31,560
Speaker 1: That's basically just cold vodka. That's what it's cold vodka.

1179
01:01:31,720 --> 01:01:36,440
Speaker 1: It is amazing inspiring times. All right, would you like

1180
01:01:36,560 --> 01:01:38,360
Speaker 1: to count us out? Donald's not here? Would you like

1181
01:01:38,480 --> 01:01:42,080
Speaker 1: to count you? Count down from five? Just really slowly? No,

1182
01:01:42,240 --> 01:01:45,320
Speaker 1: you just like in tempo five six seven eighth, So

1183
01:01:45,520 --> 01:01:47,200
Speaker 1: count up from five. I'm glad to know you're such

1184
01:01:47,200 --> 01:01:48,959
Speaker 1: a fan of the podcast. I am. But you said

1185
01:01:49,000 --> 01:01:52,160
Speaker 1: count down from five? Yeah? Like five six yeah, five

1186
01:01:52,320 --> 01:02:00,760
Speaker 1: six seven, five six seven eight made. It's a nurses

1187
01:02:00,920 --> 01:02:03,840
Speaker 1: san janitor who loved me here, I said, he's a

1188
01:02:04,000 --> 01:02:10,320
Speaker 1: story NETEA should know. So gather around you here, Arb,

1189
01:02:10,920 --> 01:02:14,400
Speaker 1: gather around you here are scot free. Watch your winds

1190
01:02:14,520 --> 01:02:17,640
Speaker 1: and the mm hmmmm.