1 00:00:03,000 --> 00:00:06,000 Speaker 1: The last time Emerald, Fanelle and I were together was 2 00:00:06,040 --> 00:00:08,600 Speaker 1: at dinner in the River Cafe. As we lived near 3 00:00:08,640 --> 00:00:11,640 Speaker 1: to each other, we shared a ride home. Emerald is 4 00:00:11,680 --> 00:00:15,240 Speaker 1: a great filmmaker. How about winning a Best Screenplay Oscar 5 00:00:15,320 --> 00:00:19,280 Speaker 1: for promising young Woman her first movie amazing? How about 6 00:00:19,280 --> 00:00:22,320 Speaker 1: writing and directing her own movies? And how about acting 7 00:00:22,680 --> 00:00:26,440 Speaker 1: and call the Midwife, the Crown and Barbie. On this 8 00:00:26,600 --> 00:00:29,520 Speaker 1: Valentine's Day, we're going to have the next Emerald film, 9 00:00:29,680 --> 00:00:34,640 Speaker 1: her adaptation of Wuthering Heights. Already everybody's talking about it, 10 00:00:34,720 --> 00:00:38,080 Speaker 1: and personally, I am counting the minutes until seeing it. 11 00:00:38,720 --> 00:00:41,720 Speaker 1: Right now though, we're here to talk together about films 12 00:00:41,800 --> 00:00:45,520 Speaker 1: and food and family and on a gray January day, 13 00:00:45,840 --> 00:00:47,720 Speaker 1: Emerald is the ray of sunshine. 14 00:00:47,760 --> 00:00:50,720 Speaker 2: We all need me most of all. 15 00:00:50,960 --> 00:00:55,400 Speaker 1: Thank you Why Wuthering Heights? 16 00:00:56,040 --> 00:01:00,320 Speaker 2: Because I love it. I think it just connects view, 17 00:01:00,720 --> 00:01:04,120 Speaker 2: it connects with the people who love Wathering Heights and 18 00:01:04,160 --> 00:01:09,160 Speaker 2: particularly love Emily Bronte. It's not it's difficult. It's difficult 19 00:01:09,160 --> 00:01:13,399 Speaker 2: material in every way, not just the not just the 20 00:01:13,480 --> 00:01:17,560 Speaker 2: kind of content, and not just its sort of refusal 21 00:01:17,600 --> 00:01:19,880 Speaker 2: to take a moral position, and not just the fact 22 00:01:19,880 --> 00:01:22,360 Speaker 2: that it's troubling, but you know, just the kind of 23 00:01:24,319 --> 00:01:29,679 Speaker 2: her writing is very complicated, dense and beautiful and poetic. 24 00:01:29,800 --> 00:01:35,640 Speaker 2: It's it's she really requires active reading. You need to 25 00:01:35,680 --> 00:01:38,200 Speaker 2: be dedicated and persistent, and you need to be kind 26 00:01:38,200 --> 00:01:40,559 Speaker 2: of obsessive and fanatical. I think to like her work 27 00:01:41,360 --> 00:01:45,640 Speaker 2: because and that's I think that's why I love it 28 00:01:45,720 --> 00:01:48,400 Speaker 2: so much, is that there have been so many adaptations 29 00:01:48,440 --> 00:01:50,040 Speaker 2: I think of Wathering Heights, and so many of them 30 00:01:50,040 --> 00:01:53,920 Speaker 2: are so beautiful. I love Andrew Arnold's I love and 31 00:01:56,000 --> 00:02:00,680 Speaker 2: so beautiful, so powerful, and I and I love the 32 00:02:00,760 --> 00:02:04,560 Speaker 2: Laurence Olivier version, of course, but they're all really good 33 00:02:04,600 --> 00:02:08,400 Speaker 2: because they're all different. There's so much to say. I 34 00:02:08,440 --> 00:02:12,200 Speaker 2: love Balfas's illustrations, and I love Kate Bush's songs, and 35 00:02:12,240 --> 00:02:15,679 Speaker 2: I love the kind of like tertiary material around it too, 36 00:02:15,760 --> 00:02:20,360 Speaker 2: because she sort of inspires people to do interesting things. 37 00:02:20,760 --> 00:02:24,720 Speaker 2: Because the book so slippery, I knew I wanted to 38 00:02:24,960 --> 00:02:28,800 Speaker 2: make it one day if I dared, because it is 39 00:02:28,840 --> 00:02:32,880 Speaker 2: an undertaking, like it's very personal to people. In Saltburn 40 00:02:33,440 --> 00:02:36,679 Speaker 2: spoiler alert, there's a sort of scene by a graveside 41 00:02:36,880 --> 00:02:42,440 Speaker 2: in Saltburn that is sort of inspired by Bothering Heights 42 00:02:42,960 --> 00:02:45,080 Speaker 2: and after Saltburn, and I was sort of I had 43 00:02:45,120 --> 00:02:47,600 Speaker 2: because it had, you know, because people had liked it. 44 00:02:47,639 --> 00:02:49,440 Speaker 2: And that's just such a unique position to be in 45 00:02:49,480 --> 00:02:51,000 Speaker 2: as a filmmaker, to be able to choose what you 46 00:02:51,040 --> 00:02:53,440 Speaker 2: want to do. I knew that I wanted to make 47 00:02:53,480 --> 00:02:59,760 Speaker 2: a kind of an old Hollywood soundstage movie, and I 48 00:02:59,800 --> 00:03:01,280 Speaker 2: want it to be Mothering Heights, and I knew that 49 00:03:01,320 --> 00:03:02,840 Speaker 2: this was probably going to be the only time that 50 00:03:02,919 --> 00:03:06,320 Speaker 2: anyone would let me do that. And I knew that 51 00:03:06,360 --> 00:03:08,640 Speaker 2: I wanted to do something that would make I like 52 00:03:08,720 --> 00:03:12,440 Speaker 2: making people feel things like I like a physical response. 53 00:03:12,520 --> 00:03:15,120 Speaker 2: But it's you know, same with you. You're giving people 54 00:03:15,120 --> 00:03:19,720 Speaker 2: a physical sensation. And that's what I feel that I 55 00:03:20,080 --> 00:03:23,360 Speaker 2: like to do making movies, is that it's that. And 56 00:03:23,400 --> 00:03:26,000 Speaker 2: there's nothing more physical than Mothering Heights. I think it's 57 00:03:26,040 --> 00:03:31,120 Speaker 2: just extremely visceral. It's extremely sexy, whether you know. And 58 00:03:31,120 --> 00:03:33,239 Speaker 2: this is what's interesting about it is people will people 59 00:03:33,320 --> 00:03:37,080 Speaker 2: argue at that point, They argue rightly, whether it is 60 00:03:37,120 --> 00:03:41,040 Speaker 2: a love story or not. It makes you cry, it 61 00:03:41,080 --> 00:03:44,960 Speaker 2: makes you recoil, it makes you uncomfortable, it makes you 62 00:03:45,040 --> 00:03:49,840 Speaker 2: kind of question yourself, it makes you, you know, it 63 00:03:49,840 --> 00:03:51,880 Speaker 2: makes you disagree with people that you think you would 64 00:03:51,880 --> 00:03:55,520 Speaker 2: normally agree with. I just love it. It's just been 65 00:03:55,560 --> 00:03:57,280 Speaker 2: amazing to be able to do it. And also it 66 00:03:57,320 --> 00:03:59,080 Speaker 2: just meant I got to read it a thousand times, 67 00:03:59,120 --> 00:04:02,480 Speaker 2: which is always fun. Where did you film We filmed 68 00:04:02,480 --> 00:04:05,080 Speaker 2: in Elstree Studios, so we built Weathering Heights it did, 69 00:04:05,320 --> 00:04:08,200 Speaker 2: and the surrounding area, and we built Rushcross Grange and 70 00:04:08,240 --> 00:04:10,920 Speaker 2: the surrounding area. I think for me, if you're looking 71 00:04:10,960 --> 00:04:13,080 Speaker 2: at something Gothic, you need to build it from scratch 72 00:04:13,120 --> 00:04:16,279 Speaker 2: because it's an emotional landscape as much as a real one. 73 00:04:16,520 --> 00:04:18,839 Speaker 2: And then we went to Yorkshire obviously, and we went 74 00:04:18,960 --> 00:04:22,160 Speaker 2: and filmed up there. We couldn't film it anywhere but Yorkshire. 75 00:04:22,200 --> 00:04:25,479 Speaker 2: That would just be kind of sacrilegious. But wanted to 76 00:04:25,520 --> 00:04:28,479 Speaker 2: make something that looked and felt the way that the 77 00:04:28,560 --> 00:04:31,600 Speaker 2: book made me feel. So it meant we were kind 78 00:04:31,640 --> 00:04:33,920 Speaker 2: of looking at brutalism as much as we were looking 79 00:04:33,920 --> 00:04:37,200 Speaker 2: at kind of the industrial north of the time. So 80 00:04:37,279 --> 00:04:40,600 Speaker 2: we filmed in kind of disused minds rather than just 81 00:04:41,120 --> 00:04:43,360 Speaker 2: the more than the kind of like the sort of rot. 82 00:04:43,400 --> 00:04:47,479 Speaker 2: We were looking for something quite sort of harsh. No, 83 00:04:47,560 --> 00:04:49,000 Speaker 2: it was. It was amazing. 84 00:04:49,520 --> 00:04:52,160 Speaker 1: What about what you eat when you're working, because I've 85 00:04:52,279 --> 00:04:56,880 Speaker 1: interviewed people from Ridley Scott to Wes Anderson to Greta 86 00:04:57,040 --> 00:05:01,039 Speaker 1: to know about the French hours, the idea that you 87 00:05:01,200 --> 00:05:04,640 Speaker 1: just keep working and you don't eat because the annoyance 88 00:05:04,680 --> 00:05:08,080 Speaker 1: of having to stop this rhythm it just ruins the flow. 89 00:05:08,320 --> 00:05:10,760 Speaker 2: It's also like I think for lots of people, you 90 00:05:10,800 --> 00:05:12,960 Speaker 2: know you're digesting. I mean, it's a kind of little 91 00:05:13,000 --> 00:05:17,560 Speaker 2: physical thing. I also do French Hours because it's that balance, 92 00:05:17,600 --> 00:05:19,520 Speaker 2: isn't it Where you want people to be able to 93 00:05:19,560 --> 00:05:21,560 Speaker 2: get home and to see their families. Yeah, and to 94 00:05:21,680 --> 00:05:24,080 Speaker 2: not be able to do that is just killer for everyone. 95 00:05:24,160 --> 00:05:26,600 Speaker 2: To not have any kind of a life is really tough, 96 00:05:26,720 --> 00:05:30,360 Speaker 2: especially if you've got young kids. But I always, you know, 97 00:05:30,400 --> 00:05:33,000 Speaker 2: we always try and make sure that the food is great. 98 00:05:33,960 --> 00:05:37,160 Speaker 2: On Saltburn, we made kind of long tables. It was 99 00:05:37,200 --> 00:05:39,000 Speaker 2: because the weather was so beautiful, so we had these 100 00:05:39,000 --> 00:05:42,279 Speaker 2: long tables with outside and everyone eats together. I'm really 101 00:05:42,320 --> 00:05:45,880 Speaker 2: like fanatical about everyone eating together and all of that 102 00:05:45,960 --> 00:05:47,680 Speaker 2: kind of stuff. But it was harder on this because 103 00:05:47,680 --> 00:05:50,120 Speaker 2: you're in a studio and you know, can't quite But 104 00:05:50,600 --> 00:05:52,880 Speaker 2: I would love to know what the other directors eat, 105 00:05:52,960 --> 00:05:57,560 Speaker 2: because I eat toasted cheese sandwiches without giving a spoiler. 106 00:05:57,680 --> 00:06:00,440 Speaker 2: Is there a food seat? Oh there are so food 107 00:06:00,480 --> 00:06:02,640 Speaker 2: seems I'm obsessed with foods. 108 00:06:02,800 --> 00:06:05,120 Speaker 1: So you have a movie that has the word solved 109 00:06:05,160 --> 00:06:05,880 Speaker 1: in it, so they. 110 00:06:05,920 --> 00:06:09,440 Speaker 2: Guess yes, and eggs. There are eggs in this new film. 111 00:06:09,520 --> 00:06:12,400 Speaker 2: There are eggs. There's jelly. But also that's the thing 112 00:06:12,400 --> 00:06:14,600 Speaker 2: about the Victorian that I'm kind of obsessed with because 113 00:06:14,600 --> 00:06:17,680 Speaker 2: this movie it's set in the kind of late eighteenth century, 114 00:06:17,760 --> 00:06:20,000 Speaker 2: but the food then was like everything, there's a kind 115 00:06:20,000 --> 00:06:23,560 Speaker 2: of perversion of taking the natural and preserving it. So 116 00:06:23,640 --> 00:06:27,000 Speaker 2: everything was an aspect. Everything was pickled, Everything looked alive 117 00:06:27,120 --> 00:06:29,520 Speaker 2: but was dead really, So all the food is kind 118 00:06:29,520 --> 00:06:31,160 Speaker 2: of designed to be you know. So we've got sort 119 00:06:31,160 --> 00:06:36,360 Speaker 2: of crayfish fighting, it's taxidermy, it's flower pressing, it's you know, 120 00:06:36,440 --> 00:06:40,960 Speaker 2: it was about containing the natural. It was about being 121 00:06:41,040 --> 00:06:45,479 Speaker 2: frightened of that the world actually in the natural world 122 00:06:45,480 --> 00:06:47,479 Speaker 2: and what that meant. And so that's such an important 123 00:06:47,520 --> 00:06:50,279 Speaker 2: part of this movie too. It's about what happens when 124 00:06:50,279 --> 00:06:54,200 Speaker 2: you kind of constrain nature, and whether it's like a 125 00:06:54,240 --> 00:06:57,159 Speaker 2: corset or it's putting a fish in jelly. It's the 126 00:06:57,200 --> 00:06:59,640 Speaker 2: same thing, isn't it the same instinct? Because we don't 127 00:06:59,680 --> 00:07:01,760 Speaker 2: do that now. We don't want our food to look 128 00:07:01,800 --> 00:07:04,000 Speaker 2: like the thing that we're eating. It's sinister. 129 00:07:04,360 --> 00:07:07,919 Speaker 1: Did you have cooks who researched the food and made 130 00:07:07,920 --> 00:07:08,320 Speaker 1: the food? 131 00:07:08,360 --> 00:07:12,280 Speaker 2: And yes, the whole teams, a whole department, and the 132 00:07:12,360 --> 00:07:15,560 Speaker 2: food was just like There's also a scene where Margo 133 00:07:15,640 --> 00:07:18,239 Speaker 2: sticks her finger in a fish and a jelly inside 134 00:07:18,240 --> 00:07:22,560 Speaker 2: the fish's mouth. And in order to get that shot, 135 00:07:22,960 --> 00:07:25,240 Speaker 2: the consistency of the jelly, the clarity of the jelly, 136 00:07:25,280 --> 00:07:28,000 Speaker 2: the type of fish, we have fake fish with lipstick, 137 00:07:28,120 --> 00:07:30,480 Speaker 2: we have fish with teeth, We had, you know, the 138 00:07:30,640 --> 00:07:34,760 Speaker 2: number of different prototypes because you know, but that's the 139 00:07:34,800 --> 00:07:38,120 Speaker 2: fun of it. Yeah, like that, and everyone's just so thrilled. 140 00:07:38,360 --> 00:07:42,120 Speaker 2: They're not just making like bangers and mash or whatever 141 00:07:42,160 --> 00:07:44,559 Speaker 2: it normally is, you know, so we just have Oh god, 142 00:07:44,640 --> 00:07:45,800 Speaker 2: it's just it's bliss. 143 00:07:46,000 --> 00:07:48,280 Speaker 1: I was thinking that you and I actually work both 144 00:07:48,320 --> 00:07:49,680 Speaker 1: in very collaborative ways. 145 00:07:50,000 --> 00:07:54,720 Speaker 2: Totally. It has to be you need to be a 146 00:07:54,760 --> 00:07:59,360 Speaker 2: benign dictator, so you can't be so inflexible that it 147 00:07:59,520 --> 00:08:02,840 Speaker 2: cracks that something breaks. You need to be able to 148 00:08:03,040 --> 00:08:05,640 Speaker 2: bend but always be steady. And I think that's the 149 00:08:05,640 --> 00:08:07,640 Speaker 2: most fun way of doing things. And all of the 150 00:08:07,640 --> 00:08:09,720 Speaker 2: people that I work with are like that. You know, 151 00:08:10,280 --> 00:08:12,960 Speaker 2: if somebody comes to you with an idea, rather than 152 00:08:13,080 --> 00:08:17,360 Speaker 2: be like no, it's a kind of yes. And and 153 00:08:17,400 --> 00:08:19,720 Speaker 2: I think and could also be it's a sort of 154 00:08:19,760 --> 00:08:22,160 Speaker 2: substitute for a butt because when you're in charge, you 155 00:08:22,160 --> 00:08:24,120 Speaker 2: always want to be like but you're trying to kind 156 00:08:24,120 --> 00:08:28,320 Speaker 2: of preserve your little precious thing that you sort of 157 00:08:28,360 --> 00:08:31,080 Speaker 2: but actually you've got to yes, and otherwise it never 158 00:08:31,160 --> 00:08:34,040 Speaker 2: goes anywhere and it stagnates and it just is a 159 00:08:34,120 --> 00:08:37,240 Speaker 2: kind of little fossil that you've preserved. So you've got 160 00:08:37,280 --> 00:08:40,160 Speaker 2: to let other people, especially you know, if you trust them, 161 00:08:40,200 --> 00:08:43,000 Speaker 2: and if they're geniuses. You know, Jacquelin Duran did the 162 00:08:43,040 --> 00:08:46,120 Speaker 2: costumes on wather In Heights and she's just like extraordinary. 163 00:08:47,040 --> 00:08:49,679 Speaker 2: And you're looking to entertain each other. You're looking to 164 00:08:49,679 --> 00:08:51,640 Speaker 2: surprise each other, you're looking to provoke each other. You're 165 00:08:51,640 --> 00:08:55,960 Speaker 2: looking to do something that interests and challenges both of you. 166 00:08:56,880 --> 00:09:00,439 Speaker 2: So that's I think that's kind of the process of aberration. 167 00:09:00,600 --> 00:09:03,560 Speaker 2: But you know, also you're in that unique position as 168 00:09:03,600 --> 00:09:06,360 Speaker 2: you are here where you also have an overview, so 169 00:09:06,520 --> 00:09:10,120 Speaker 2: you can't get too carried away, you can't go veering 170 00:09:10,160 --> 00:09:15,120 Speaker 2: off too far. But my thing is always with filmmaking 171 00:09:15,240 --> 00:09:19,280 Speaker 2: is I want to push something into its very, very limits, 172 00:09:21,280 --> 00:09:23,880 Speaker 2: to see what that limit is, and then pull back. 173 00:09:24,320 --> 00:09:27,600 Speaker 2: So it's always an exercise in letting people be free 174 00:09:27,640 --> 00:09:31,520 Speaker 2: to make something disgusting. You can't make anything interesting unless 175 00:09:31,520 --> 00:09:35,920 Speaker 2: you're willing and unafraid to make something difficult and something unpalatable. 176 00:09:36,240 --> 00:09:38,360 Speaker 2: I suppose maybe it works with food as well as 177 00:09:38,360 --> 00:09:40,560 Speaker 2: it works with filmmaking. It's sort of you're taking a risk, 178 00:09:40,720 --> 00:09:43,400 Speaker 2: taking a risk, but the real risk, I think is 179 00:09:44,000 --> 00:09:48,440 Speaker 2: in being earnest, being cringed, doing something lame, doing something 180 00:09:48,840 --> 00:09:50,679 Speaker 2: you know. It's like that we've got so much in 181 00:09:50,679 --> 00:09:53,480 Speaker 2: our culture now that we've got the breaks being put 182 00:09:53,559 --> 00:09:57,560 Speaker 2: on creatively, I think all the time because we're afraid 183 00:09:57,559 --> 00:10:01,040 Speaker 2: of embarrassment. I think. So for me, I'm always like, 184 00:10:01,559 --> 00:10:05,840 Speaker 2: I don't I don't mind being embarrassing. I think being 185 00:10:05,880 --> 00:10:08,600 Speaker 2: a human is kind of fundamentally fairly embarrassing. So I'm 186 00:10:08,640 --> 00:10:11,200 Speaker 2: happy to say, like, look, you can't be embarrassed. I 187 00:10:11,200 --> 00:10:14,760 Speaker 2: won't be embarrassed by anything that you do. Because I'm 188 00:10:14,760 --> 00:10:18,760 Speaker 2: interested in stuff anyway. It's just a constant sort of 189 00:10:19,440 --> 00:10:24,160 Speaker 2: rubbing up against the ghastly. That's kind of what interests me. 190 00:10:24,200 --> 00:10:27,760 Speaker 2: And that's why the Gothic's interesting. We all have extremely 191 00:10:27,800 --> 00:10:31,600 Speaker 2: high standards. We're kind of fanatical about it. But like 192 00:10:32,520 --> 00:10:34,240 Speaker 2: I think, I hope that the people who work with 193 00:10:34,280 --> 00:10:35,839 Speaker 2: me know they can come to me with anything, and 194 00:10:35,880 --> 00:10:38,120 Speaker 2: I'll be like, yeah, okay, let's talk about that at least. 195 00:10:38,880 --> 00:10:41,080 Speaker 2: And so that's really important. And then it's constant, and 196 00:10:41,120 --> 00:10:45,520 Speaker 2: it's constantly, you know, we do it for the actors, 197 00:10:45,679 --> 00:10:48,840 Speaker 2: tons and tons of rehearsals, and I look at everything 198 00:10:48,920 --> 00:10:52,199 Speaker 2: from the kind of surprising things emerge between characters that 199 00:10:52,240 --> 00:10:54,800 Speaker 2: you wouldn't expect, you know. Saltburn was so much like that. 200 00:10:54,920 --> 00:11:01,360 Speaker 2: We found there was so much between Archie Medequi, who 201 00:11:01,440 --> 00:11:05,640 Speaker 2: played Farley who's a genius, and bar Kiogun in rehearsals, 202 00:11:05,640 --> 00:11:06,920 Speaker 2: and I was just like, I really want to I 203 00:11:06,920 --> 00:11:09,200 Speaker 2: want to look, we need to look examine this more. 204 00:11:09,600 --> 00:11:12,480 Speaker 2: People bring so much of their own thing always, and 205 00:11:12,520 --> 00:11:14,760 Speaker 2: their own energy, in their own chemistry and their own 206 00:11:14,840 --> 00:11:16,160 Speaker 2: ideas and their own cleverness. 207 00:11:16,559 --> 00:11:18,559 Speaker 1: I guess the parallel on the restaurant is that we 208 00:11:18,760 --> 00:11:21,840 Speaker 1: changed the menu for every meal so that you might think, 209 00:11:22,120 --> 00:11:24,960 Speaker 1: it's actually a really great day today, and so let's 210 00:11:25,040 --> 00:11:27,199 Speaker 1: do some more comforting food than we might have done. 211 00:11:27,400 --> 00:11:30,720 Speaker 1: Or who's my team working, So I know that person 212 00:11:30,760 --> 00:11:34,800 Speaker 1: isn't great grilling, so maybe we'll put the simpler things 213 00:11:34,840 --> 00:11:36,679 Speaker 1: to grill on the grill. 214 00:11:36,800 --> 00:11:38,880 Speaker 2: And you're sort of looking at each. 215 00:11:38,679 --> 00:11:42,600 Speaker 1: Person's abilities and what you feel and how many people 216 00:11:42,600 --> 00:11:44,960 Speaker 1: are coming, and then of course you walk in and 217 00:11:44,960 --> 00:11:47,080 Speaker 1: then you have the sea best income in today. So 218 00:11:47,120 --> 00:11:49,440 Speaker 1: we only have two fish, but we can use something 219 00:11:49,480 --> 00:11:51,439 Speaker 1: we were going to start with. So there's a constant. 220 00:11:52,320 --> 00:11:55,800 Speaker 1: It is challenging what we're doing trying to work in 221 00:11:55,840 --> 00:11:57,560 Speaker 1: that way. If we knew we had a set menu 222 00:11:57,640 --> 00:11:59,840 Speaker 1: every day, you would come in and it would all 223 00:11:59,840 --> 00:12:01,760 Speaker 1: be done and it would probably make more money. But 224 00:12:01,840 --> 00:12:04,680 Speaker 1: this is the way we've rolled for the first day. 225 00:12:04,840 --> 00:12:07,440 Speaker 1: It's very much what you're saying of the parallel of 226 00:12:07,480 --> 00:12:09,120 Speaker 1: making a movie and making a ludge. 227 00:12:09,320 --> 00:12:12,440 Speaker 2: Definitely, And I think, I mean, what you're describing sounds 228 00:12:12,480 --> 00:12:15,720 Speaker 2: so exciting, but I can imagine that for lots of 229 00:12:15,760 --> 00:12:19,080 Speaker 2: people that would instill dreading because it would be it's 230 00:12:19,160 --> 00:12:22,800 Speaker 2: so well, it's kind of improvising, isn't it? And it's 231 00:12:22,840 --> 00:12:26,000 Speaker 2: having the faith in your team, and it's why I 232 00:12:26,080 --> 00:12:28,120 Speaker 2: think people come here again and again, and it's I 233 00:12:28,160 --> 00:12:31,920 Speaker 2: just can't imagine, as because I'm such a nosy person, 234 00:12:33,400 --> 00:12:36,520 Speaker 2: the things that must be witnessed here, the proposals and 235 00:12:36,600 --> 00:12:41,440 Speaker 2: the breakups and conversations that the silent fascinating, what's dramatic. 236 00:12:41,559 --> 00:12:43,559 Speaker 1: There's a lot of drama, and I think that's why 237 00:12:43,679 --> 00:12:59,520 Speaker 1: probably actors loved working for restaurants. Do you think that 238 00:12:59,679 --> 00:13:02,120 Speaker 1: growing out in your early life, do you think this 239 00:13:02,280 --> 00:13:06,400 Speaker 1: was kind of also a sense of preparation or interest 240 00:13:06,720 --> 00:13:08,400 Speaker 1: or how did this happen? 241 00:13:08,760 --> 00:13:12,400 Speaker 2: I think I'm just very lucky. I think the first 242 00:13:12,440 --> 00:13:14,880 Speaker 2: thing I would say that is the bit of luck 243 00:13:14,960 --> 00:13:18,880 Speaker 2: is that my family really loves me, and I really 244 00:13:18,880 --> 00:13:21,760 Speaker 2: love them, and so just to grow up in a 245 00:13:21,760 --> 00:13:24,280 Speaker 2: household where you all really really love each other is 246 00:13:24,800 --> 00:13:28,040 Speaker 2: as I grow older, it's just very lucky. And so 247 00:13:28,520 --> 00:13:32,360 Speaker 2: that was that's such a grounding for anything, because you 248 00:13:32,480 --> 00:13:35,360 Speaker 2: feel like you can do something, and so there was 249 00:13:35,400 --> 00:13:38,640 Speaker 2: that side of things. But also my mother is a writer, 250 00:13:38,800 --> 00:13:42,280 Speaker 2: my father is a jewelry designer, although he's sort of 251 00:13:42,320 --> 00:13:43,959 Speaker 2: more than that. I would say, you know, he sort 252 00:13:44,000 --> 00:13:49,680 Speaker 2: of makes very specific, individual one off pieces, sort of 253 00:13:49,720 --> 00:13:54,360 Speaker 2: magic box pieces, kind of strange things. Actually. And my mother, 254 00:13:55,000 --> 00:13:57,800 Speaker 2: you know, she worked for years as a photographer's agent 255 00:13:58,000 --> 00:14:02,160 Speaker 2: and now is as a writer, novelist and latterly a 256 00:14:02,160 --> 00:14:05,400 Speaker 2: screenwriter to her first films just been made. The luck 257 00:14:05,440 --> 00:14:08,120 Speaker 2: of having parents who live in London, so you can 258 00:14:08,160 --> 00:14:10,440 Speaker 2: live in London to go to auditions when you're you know, 259 00:14:10,880 --> 00:14:14,480 Speaker 2: there's an enormous amount of sort of I think privilege 260 00:14:14,520 --> 00:14:17,880 Speaker 2: obviously attached to all of that stuff, which I don't 261 00:14:17,920 --> 00:14:21,760 Speaker 2: take for granted and I'm very aware of. But yeah, 262 00:14:21,800 --> 00:14:25,040 Speaker 2: I think I've always admired that they work very very hard, 263 00:14:25,080 --> 00:14:27,520 Speaker 2: both of them too. You know, they worked all day, 264 00:14:27,560 --> 00:14:29,320 Speaker 2: both of them at their jobs, and then they would 265 00:14:29,320 --> 00:14:32,880 Speaker 2: be out every night, you know, meeting people, going out 266 00:14:32,920 --> 00:14:37,280 Speaker 2: to things. So what was who cooked? Mum? But I 267 00:14:37,320 --> 00:14:42,000 Speaker 2: think she would say marks and Spencer's. I would say 268 00:14:42,040 --> 00:14:44,880 Speaker 2: the main food that we had growing up was a 269 00:14:44,960 --> 00:14:51,560 Speaker 2: very specific oven ready tagger telly with ham and mushroom 270 00:14:51,800 --> 00:14:53,600 Speaker 2: in a sort of creamy source from em ands that 271 00:14:54,440 --> 00:14:58,080 Speaker 2: I think was ninety percent of what we ate growing up. 272 00:14:58,160 --> 00:15:01,080 Speaker 2: And actually Mum's an amazing but she just you know, 273 00:15:01,160 --> 00:15:03,360 Speaker 2: she just worked. She worked. We were very much a 274 00:15:03,400 --> 00:15:06,640 Speaker 2: ready meal family. And I think that's I'm still quite 275 00:15:06,920 --> 00:15:09,560 Speaker 2: I'm still quite comfort food. But then stuff like when 276 00:15:09,560 --> 00:15:13,080 Speaker 2: we went to we grew up in Herefordship. Every Friday 277 00:15:13,160 --> 00:15:14,960 Speaker 2: night we'd go up and we'd have fish and chips 278 00:15:15,000 --> 00:15:17,800 Speaker 2: from the chip shop in Hereford and that was just 279 00:15:17,920 --> 00:15:20,520 Speaker 2: That's the thing I remember most is the feeling of 280 00:15:20,680 --> 00:15:22,880 Speaker 2: the fish and chips on my lap. What was that 281 00:15:22,920 --> 00:15:26,240 Speaker 2: feeling like? Well, it's hot, It's really hot, and it 282 00:15:26,400 --> 00:15:29,880 Speaker 2: smells like hot paper and vinegar and it's just the best. 283 00:15:29,920 --> 00:15:33,080 Speaker 2: And it's just seeing if you can wait. It's like 284 00:15:33,120 --> 00:15:35,160 Speaker 2: a game of chicken, see if you can wait till 285 00:15:35,200 --> 00:15:38,000 Speaker 2: you get home, and just like you can't. Yeah, So 286 00:15:38,200 --> 00:15:41,160 Speaker 2: you eat it in the car and it would be yeah, 287 00:15:41,200 --> 00:15:41,840 Speaker 2: and it was great. 288 00:15:41,960 --> 00:15:44,200 Speaker 1: And would you go to would they take you to restaurants? 289 00:15:44,200 --> 00:15:47,600 Speaker 2: Did you go to restaurants as we did? We did. 290 00:15:47,800 --> 00:15:49,960 Speaker 2: We went to somewhere in Gloucester Road called the Texas 291 00:15:50,040 --> 00:15:52,080 Speaker 2: Loan Star. How I remember that? Do you remember the 292 00:15:52,080 --> 00:15:55,680 Speaker 2: Texas Life? I remember? And they had they had pinball 293 00:15:55,720 --> 00:15:57,680 Speaker 2: machines and it was I guess it was kind of 294 00:15:57,720 --> 00:16:03,840 Speaker 2: like American eamed and they did the most delicious thing 295 00:16:03,880 --> 00:16:05,840 Speaker 2: you've ever tasted in your life, which is called a 296 00:16:05,880 --> 00:16:10,480 Speaker 2: Texas Pup, and it's a Frankfurter slit open sheddar cheese 297 00:16:10,480 --> 00:16:13,040 Speaker 2: inside it wrapped up in a hard taco and so 298 00:16:13,120 --> 00:16:16,760 Speaker 2: it's like a crunchy hot dog with cheese, and it's 299 00:16:16,800 --> 00:16:19,160 Speaker 2: got to be a billion calories and it's not something 300 00:16:19,280 --> 00:16:23,160 Speaker 2: that would graze the pittier. I can still taste it, 301 00:16:23,280 --> 00:16:25,240 Speaker 2: and me and my sisters still talk about the Texas. 302 00:16:26,680 --> 00:16:28,680 Speaker 1: I was in New York last week and I was 303 00:16:28,720 --> 00:16:31,360 Speaker 1: going to I was starving and say didn't had lunch, 304 00:16:31,400 --> 00:16:33,680 Speaker 1: and took a walk down for sevenes a hot dog stand, 305 00:16:34,040 --> 00:16:35,280 Speaker 1: and I thought, I'm just going to have a hot 306 00:16:35,320 --> 00:16:38,840 Speaker 1: dog because I have Italian food every day in my life, 307 00:16:38,880 --> 00:16:41,040 Speaker 1: and there's something about being in New York. 308 00:16:41,080 --> 00:16:41,880 Speaker 2: It was really good. 309 00:16:42,080 --> 00:16:45,800 Speaker 1: But I just went for the classic hot dog and mustard, 310 00:16:45,840 --> 00:16:49,040 Speaker 1: and it was so good in the freezing cold Andy. 311 00:16:50,520 --> 00:16:52,560 Speaker 1: But when you did when they entertained, were you the 312 00:16:52,640 --> 00:16:54,600 Speaker 1: kid who was brought down to say hello? 313 00:16:54,800 --> 00:16:57,040 Speaker 2: Or were you in your room? Or did you kind 314 00:16:57,080 --> 00:17:00,200 Speaker 2: of I made myself that kid. I was fair very 315 00:17:00,600 --> 00:17:03,640 Speaker 2: lunch a very I was very much slowly descending the 316 00:17:03,640 --> 00:17:07,120 Speaker 2: staircase in a kind of wistful manner until somebody paid 317 00:17:07,160 --> 00:17:10,080 Speaker 2: me attention. I don't sleep very well, so I never 318 00:17:10,160 --> 00:17:11,880 Speaker 2: slept when I was a child, and I could hear. 319 00:17:12,080 --> 00:17:14,720 Speaker 2: I could hear that there was day and this is 320 00:17:14,760 --> 00:17:16,920 Speaker 2: the nineties really when I was when I was little, 321 00:17:17,000 --> 00:17:20,359 Speaker 2: so Mum and Dad actually they very rarely had people over. 322 00:17:20,480 --> 00:17:22,800 Speaker 2: They were more out go out. But when they did 323 00:17:22,920 --> 00:17:26,560 Speaker 2: have people over, it was absolutely kind of ab fab territory, 324 00:17:26,840 --> 00:17:30,400 Speaker 2: you know, just Ciggy's on the go, everyone having a laugh, 325 00:17:30,480 --> 00:17:33,160 Speaker 2: and you know, it was just it was a different time. Yeah, 326 00:17:33,359 --> 00:17:34,680 Speaker 2: it was kind of glorious. 327 00:17:34,840 --> 00:17:37,160 Speaker 1: So then did you go to boarding school at what age? 328 00:17:37,240 --> 00:17:39,200 Speaker 2: Was I went to boarding school? Thirteen? 329 00:17:39,440 --> 00:17:40,080 Speaker 1: Was that a shock? 330 00:17:40,680 --> 00:17:44,840 Speaker 2: It's it actually was. I think probably a very good idea. 331 00:17:45,720 --> 00:17:48,520 Speaker 2: I think I was. I would have gone quite quickly 332 00:17:48,560 --> 00:17:50,840 Speaker 2: off the rails in London, I think we all and 333 00:17:51,000 --> 00:17:53,520 Speaker 2: I think even I knew that even as a child. 334 00:17:53,640 --> 00:17:56,320 Speaker 2: So even though I was maybe I was homesick, and 335 00:17:56,400 --> 00:17:58,320 Speaker 2: I did, you know, do love my family and as 336 00:17:58,320 --> 00:18:01,120 Speaker 2: an insomniac at boarding school, quite lonely, being a room 337 00:18:01,200 --> 00:18:04,400 Speaker 2: full of people awake when it comes asleep. I think 338 00:18:04,440 --> 00:18:07,679 Speaker 2: it was probably more wholesome scenario than if I'd stayed. 339 00:18:07,880 --> 00:18:10,639 Speaker 2: And do you remember the food? I do? You know, 340 00:18:10,680 --> 00:18:14,560 Speaker 2: it's fine. I love toads. And again, you know, I'd 341 00:18:14,640 --> 00:18:16,920 Speaker 2: been brought up on like the ready meal, so I 342 00:18:17,040 --> 00:18:19,840 Speaker 2: was just delighted, like there were chips for every meal. 343 00:18:20,080 --> 00:18:24,560 Speaker 2: And so I mostly grew up on carbohydrates, which was 344 00:18:24,640 --> 00:18:26,919 Speaker 2: absolutely fine by me. It was only when I hit 345 00:18:27,000 --> 00:18:30,160 Speaker 2: eighteen and realized you actually can't eat five thousand calories 346 00:18:30,280 --> 00:18:31,520 Speaker 2: worth of every day. 347 00:18:32,280 --> 00:18:36,600 Speaker 1: I was Now, I've just come back from New York. 348 00:18:36,720 --> 00:18:39,679 Speaker 1: You know, there's this whirlwind tour of everywhere in San 349 00:18:39,760 --> 00:18:43,159 Speaker 1: Francisco and Las Vegas and with people and kids, and 350 00:18:43,240 --> 00:18:45,440 Speaker 1: now this whole thing is going back to like high 351 00:18:45,520 --> 00:18:48,000 Speaker 1: protein in a big way. I mean, you know, the 352 00:18:48,400 --> 00:18:51,800 Speaker 1: young people, especially in San Francisco, the decade guys are 353 00:18:51,880 --> 00:18:55,080 Speaker 1: all it's like protein, protein, protein again. 354 00:18:55,119 --> 00:18:56,800 Speaker 2: What were you doing on your tour in America? Me? 355 00:18:56,920 --> 00:18:58,720 Speaker 1: I went, I saw my brother, who sends his love 356 00:18:58,760 --> 00:19:00,800 Speaker 1: to you, but we actually just brother talk about your 357 00:19:00,840 --> 00:19:01,359 Speaker 1: brother in. 358 00:19:03,880 --> 00:19:06,000 Speaker 2: And you met through. So when we were doing the 359 00:19:06,080 --> 00:19:09,359 Speaker 2: kind of award season push for a movie, you do 360 00:19:09,520 --> 00:19:13,080 Speaker 2: all of these actually really wonderful things with like the DGA, 361 00:19:13,359 --> 00:19:15,960 Speaker 2: so the Director's Guild of American and the WJS. You 362 00:19:16,040 --> 00:19:19,560 Speaker 2: get to meet loads of really interesting, cool people. And 363 00:19:19,720 --> 00:19:24,080 Speaker 2: one of these screenings afterwards, I met your brother Michael, 364 00:19:24,359 --> 00:19:26,200 Speaker 2: and somebody said, this is Michael and he's a writer 365 00:19:26,359 --> 00:19:28,320 Speaker 2: and he wrote this and this and this and The 366 00:19:28,440 --> 00:19:33,080 Speaker 2: Jerk and this, and there's like whoa, whoa, whoa what? Sorry, 367 00:19:33,200 --> 00:19:37,200 Speaker 2: I'm so sorry because The Jerk is my favorite film 368 00:19:37,280 --> 00:19:41,440 Speaker 2: by such a like huge measure that I couldn't And 369 00:19:41,520 --> 00:19:44,040 Speaker 2: then I just like attached myself to him like a 370 00:19:44,160 --> 00:19:46,800 Speaker 2: limpit because he's just the coolest. I had no idea 371 00:19:46,840 --> 00:19:49,360 Speaker 2: it was your brother, you know, but it seems really 372 00:19:49,480 --> 00:19:52,560 Speaker 2: good writer. Yeah, he's so incredible writer. But the fact that, 373 00:19:52,760 --> 00:19:54,800 Speaker 2: you know, it's always so fascinating when in a family 374 00:19:54,880 --> 00:19:58,840 Speaker 2: you have such talented people but in such wildly different ways. 375 00:19:59,600 --> 00:20:00,560 Speaker 2: What was your upbringing? 376 00:20:00,760 --> 00:20:03,639 Speaker 1: Like, oh, and I like the way you're interviewing me. 377 00:20:03,920 --> 00:20:08,480 Speaker 2: This is really sorry, Sorry, No, it's good. My father 378 00:20:08,680 --> 00:20:09,919 Speaker 2: was always encouraged us. 379 00:20:10,000 --> 00:20:12,520 Speaker 1: But then my brother was an actor and a writer, 380 00:20:12,680 --> 00:20:14,959 Speaker 1: was a stand up and in this career, and then 381 00:20:15,040 --> 00:20:17,320 Speaker 1: my sister is an artist, and I think they really 382 00:20:17,440 --> 00:20:19,720 Speaker 1: had hopes for me that you know i'd be a 383 00:20:19,920 --> 00:20:21,160 Speaker 1: doctor or a lawyer. 384 00:20:21,040 --> 00:20:22,480 Speaker 2: But they encouraged us all. 385 00:20:22,960 --> 00:20:24,760 Speaker 1: And I think, like you, I always say, I was 386 00:20:24,840 --> 00:20:27,720 Speaker 1: really taken by what you said about you know, having 387 00:20:27,800 --> 00:20:30,719 Speaker 1: been loved psychives that gives you the courage and the interest. 388 00:20:30,880 --> 00:20:33,400 Speaker 1: But that well, you know, when you have a podcast 389 00:20:33,440 --> 00:20:35,320 Speaker 1: you can come and hear me about that. But I 390 00:20:35,400 --> 00:20:38,159 Speaker 1: think so and so you were working in La and 391 00:20:38,280 --> 00:20:39,880 Speaker 1: did you ever live in La? 392 00:20:40,040 --> 00:20:45,000 Speaker 2: Yeah, we lived there for three years and then and 393 00:20:45,080 --> 00:20:48,280 Speaker 2: then off our son was born there, and then COVID happened, 394 00:20:49,640 --> 00:20:51,399 Speaker 2: and with a young baby, we just wanted to be 395 00:20:51,520 --> 00:20:54,399 Speaker 2: near our families, you know, but we'd have I think 396 00:20:54,440 --> 00:20:56,879 Speaker 2: we'd have stayed there longer because I love it. I 397 00:20:57,000 --> 00:21:02,800 Speaker 2: love it. I love I love I love the energy 398 00:21:03,000 --> 00:21:06,920 Speaker 2: and I love England. So I mean, but the kind 399 00:21:06,960 --> 00:21:11,000 Speaker 2: of the thing of the determination and the kind of 400 00:21:11,240 --> 00:21:14,760 Speaker 2: can do and everyone, like, I don't know, I think 401 00:21:14,880 --> 00:21:18,120 Speaker 2: it's very exciting over there. Do you like the food. 402 00:21:19,040 --> 00:21:21,760 Speaker 2: I love the foods. Yeah, I love the food. The 403 00:21:21,800 --> 00:21:23,040 Speaker 2: food is amazing in La. 404 00:21:23,680 --> 00:21:26,920 Speaker 1: In La is a very food culture, really foody. 405 00:21:26,680 --> 00:21:29,360 Speaker 2: Culture, and you know, it's just a very people want 406 00:21:29,400 --> 00:21:31,800 Speaker 2: to talk. So if you want to talk everyone you 407 00:21:31,880 --> 00:21:35,200 Speaker 2: speak to is interesting. They've come from somewhere interesting and 408 00:21:35,240 --> 00:21:37,760 Speaker 2: they're doing something interesting. And I just I think here 409 00:21:38,760 --> 00:21:42,320 Speaker 2: people don't love to have a chat as much. I mean, 410 00:21:42,400 --> 00:21:45,480 Speaker 2: they do once you kind of if you if you're persistent, 411 00:21:45,600 --> 00:21:48,840 Speaker 2: but here we're very formal and and I love I 412 00:21:48,960 --> 00:21:51,200 Speaker 2: really want to I really want to talk to people 413 00:21:51,240 --> 00:21:55,960 Speaker 2: a lot, so I can, you know, Like my husband 414 00:21:56,040 --> 00:21:59,440 Speaker 2: always laughs because there's often a moment when I'm sort 415 00:21:59,440 --> 00:22:01,119 Speaker 2: of trying to get and going with someone and they 416 00:22:01,200 --> 00:22:04,159 Speaker 2: just don't want to engage, and he's like, oh. 417 00:22:04,080 --> 00:22:05,000 Speaker 1: It didn't work, it. 418 00:22:05,080 --> 00:22:07,000 Speaker 2: Didn't work, it didn't work. 419 00:22:20,440 --> 00:22:23,760 Speaker 3: The recipe, Oh my god, spaghetti bottarga, which I thought 420 00:22:24,240 --> 00:22:26,680 Speaker 3: was so interesting that you chose that. Do you know what, 421 00:22:26,720 --> 00:22:28,280 Speaker 3: I don't know that I've ever had it. I just 422 00:22:28,440 --> 00:22:31,080 Speaker 3: wanted it, and it's a really delicious thing to watch. 423 00:22:31,440 --> 00:22:36,240 Speaker 2: Okay, Spaghetti with botaga for six ingredients two hundred and 424 00:22:36,320 --> 00:22:40,280 Speaker 2: fifty grams of spaghetti, three tablespoons of olive oil, two 425 00:22:40,400 --> 00:22:45,560 Speaker 2: garlic cloves peeled, fifty grams of fresh flat leaf parsley 426 00:22:45,760 --> 00:22:49,880 Speaker 2: finely chopped, one dried red chili crumbled, one hundred grams 427 00:22:49,920 --> 00:22:52,400 Speaker 2: of botaga coarsely grated, and the juice of one lemon. 428 00:22:53,400 --> 00:22:56,240 Speaker 2: Cook the pasta in a generous amount of boiling salted water, 429 00:22:56,560 --> 00:22:59,080 Speaker 2: Heat the olive oil in a separate saucepan. Fry the 430 00:22:59,119 --> 00:23:01,400 Speaker 2: garlic with the past in chili for a few seconds. 431 00:23:01,840 --> 00:23:04,640 Speaker 2: Add the drained pasta and toss well. Stir in most 432 00:23:04,720 --> 00:23:07,600 Speaker 2: of the potagar and lemon juice. Serve immediately with the 433 00:23:07,720 --> 00:23:11,720 Speaker 2: remaining potaga on top. So I wouldn't obviously change anything 434 00:23:11,760 --> 00:23:15,240 Speaker 2: about this because you'll be rogers and I'm psychoped, But 435 00:23:15,320 --> 00:23:17,640 Speaker 2: I would say that I know that it's bad form 436 00:23:17,720 --> 00:23:24,000 Speaker 2: to have parmesan with fish pasta, but always you can breaks. 437 00:23:24,119 --> 00:23:26,520 Speaker 2: You can break a parmesan. There you go, because I 438 00:23:26,800 --> 00:23:27,960 Speaker 2: can ever be salty enough. 439 00:23:28,520 --> 00:23:32,200 Speaker 1: And last question, if you did need food for comfort, 440 00:23:32,440 --> 00:23:34,520 Speaker 1: just to make you feel better, it would it be 441 00:23:34,640 --> 00:23:36,920 Speaker 1: that cheese sandwich or that fish and chips, or the 442 00:23:37,480 --> 00:23:39,639 Speaker 1: memory of your mother's tag or something different? 443 00:23:39,840 --> 00:23:43,240 Speaker 2: Is there something you'd reach for. I think that the 444 00:23:43,440 --> 00:23:46,960 Speaker 2: best thing I've ever eaten is the first cookie that 445 00:23:47,080 --> 00:23:52,359 Speaker 2: my kids made, So I think it was let's be honest, 446 00:23:52,440 --> 00:23:55,159 Speaker 2: it was ship okay, you know, come on. It was 447 00:23:55,200 --> 00:23:57,639 Speaker 2: a sort of short bread and it was decorated with 448 00:23:58,000 --> 00:24:02,359 Speaker 2: like a lot of Multicolor glope, but I think they 449 00:24:02,359 --> 00:24:05,119 Speaker 2: would have been like five and three, and just the 450 00:24:05,240 --> 00:24:07,800 Speaker 2: fact that they've done it, frankly, and I just thought, well, 451 00:24:07,920 --> 00:24:09,960 Speaker 2: that's got to be the best thing I've ever eaten, 452 00:24:10,600 --> 00:24:13,320 Speaker 2: really and the best memory and just the best. Yeah, 453 00:24:13,400 --> 00:24:15,080 Speaker 2: So that would be that would be it. I have 454 00:24:15,200 --> 00:24:23,920 Speaker 2: that cookie, Thank you, Thank you. Ruthie's Table four was 455 00:24:23,960 --> 00:24:27,480 Speaker 2: produced by Alex Bell, Robbie Hamilton, and Zad Rogers, with 456 00:24:27,640 --> 00:24:30,720 Speaker 2: Andrew Sang and Bella Selini. This has been an atomized 457 00:24:30,720 --> 00:24:31,960 Speaker 2: production for iHeartMedia.