Latest / Fake Doctors, Real Friends with Zach and Donald / A Good Person with Florence Pugh

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A Good Person with Florence Pugh · Fake Doctors, Real Friends with Zach and Donald

• 0:04
  Speaker 1: Here's some stories about shore. We made about a bunch
• 0:10
  Speaker 1: of doctor nurses stories. So get around hereat around here.
• 0:28
  Speaker 1: Oh my goodness, hello, I was just crying watching you.
• 0:35
  Speaker 1: So this is a little we like that. We like that.
• 0:42
  Speaker 1: Um well, hey everybody, we'll just dive in this is
• 0:46
  Speaker 1: we'll sit here that I was gonna have it be formal,
• 0:49
  Speaker 1: but you know what, let's just do it informally. Um. Hello, listeners,
• 0:54
  Speaker 1: welcome to a special version of Fake Doctor's Real Friends. Unfortunately,
• 0:58
  Speaker 1: the only time we could do this is on Sunday,
• 1:01
  Speaker 1: right before our premier. And Donald is at a basketball
• 1:04
  Speaker 1: tournament with his son. As we all know, his son
• 1:07
  Speaker 1: is just incredible at basketball, and it's Donald's dream and
• 1:10
  Speaker 1: he wanted to be here so badly, but he's at
• 1:12
  Speaker 1: a big tournament with Rocco. But we do have the
• 1:15
  Speaker 1: fantabulous Joel Monique and DJ Danel happy to be here,
• 1:20
  Speaker 1: of course. And this is really special because those of
• 1:24
  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
• 1:31
  Speaker 1: gonna go deep and talk about my journey of writing it,
• 1:35
  Speaker 1: which a lot of you have followed because I have
• 1:37
  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
• 1:44
  Speaker 1: and we did the whole pandemic together and the whole
• 1:47
  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
• 1:54
  Speaker 1: I hope you all like it. And so I just
• 1:56
  Speaker 1: wanted to bring Florence on Florence High. But um, I'm
• 2:03
  Speaker 1: here instead of Donald. Yes, yes, your your personalities are
• 2:10
  Speaker 1: are both vivacious, loud, yeah, yes, yes, Hi you guys,
• 2:19
  Speaker 1: how you dan very well? Very well? Yeah? Yeah. To
• 2:23
  Speaker 1: Daniel's point, there were lots of tears as we were.
• 2:26
  Speaker 1: We were texting each other while we were watching, like,
• 2:28
  Speaker 1: oh my gosh, Florence is so talented. I got to
• 2:31
  Speaker 1: read the script. I have questions about what happened to
• 2:34
  Speaker 1: one of my favorite scenes. Yeah, well don't don't, don't
• 2:39
  Speaker 1: do any We have to be careful. But of course
• 2:43
  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,
• 2:52
  Speaker 1: I'm getting my writing friends input. Please read this and
• 2:57
  Speaker 1: and and give me any thoughts you have, because I
• 2:59
  Speaker 1: did that with a with a myriad of people, just
• 3:01
  Speaker 1: to kind of get notes and thoughts from other talented people. So, Joelle,
• 3:05
  Speaker 1: it must have been cool for you to see it
• 3:07
  Speaker 1: realized it was cool because so your scripts are very
• 3:12
  Speaker 1: um detailed and visual, and so you got like a
• 3:15
  Speaker 1: full like idea, like a movie mind map, if you will,
• 3:18
  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
• 3:22
  Speaker 1: of how I imagined it. That's different than how imagined it,
• 3:24
  Speaker 1: but it's really cool. Um. And then there was a
• 3:27
  Speaker 1: moment where I was like, wait, did I miss the scene?
• 3:29
  Speaker 1: It was one of my favorite scenes reading it in
• 3:32
  Speaker 1: the script, and then I didn't make it to the screen,
• 3:33
  Speaker 1: and I was like, what happened? I'm sure there's a
• 3:36
  Speaker 1: very valid reason, but yeah, I just give a hint
• 3:39
  Speaker 1: what scene was it? So I know which scene it.
• 3:45
  Speaker 1: I don't think it oils anything, but let me know, Zach.
• 3:47
  Speaker 1: Molly Shannon makes an important phone call from flows mom
• 3:52
  Speaker 1: in the film, and she makes an important phone call
• 3:54
  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
• 4:01
  Speaker 1: written stuff, for the best performed stuff, you're like, over
• 4:04
  Speaker 1: time or for the pacing of the film, it just happened.
• 4:06
  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
• 4:14
  Speaker 1: analogy always uses it's like a scavenger hunt. You go
• 4:17
  Speaker 1: out and in twenty six days, for minimum twelve hours,
• 4:21
  Speaker 1: you race and race and race and collect as much
• 4:23
  Speaker 1: stuff as you can, right, and then you get back
• 4:25
  Speaker 1: to and you're like out of breath and you get
• 4:26
  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
• 4:31
  Speaker 1: do the assembly, it's two hours three sorry, two and
• 4:35
  Speaker 1: a half three hours long. And so that's when you know,
• 4:38
  Speaker 1: most filmmakers will tell you a movie is made in
• 4:40
  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
• 4:47
  Speaker 1: our two hour movie? And you take stuff out and
• 4:50
  Speaker 1: then you go, ah, put that back, and then you
• 4:52
  Speaker 1: take big chunks out because I mean a half hour
• 4:54
  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
• 5:00
  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
• 5:07
  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
• 5:16
  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
• 5:22
  Speaker 1: it is for what it serves to the storyline. So
• 5:25
  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
• 5:32
  Speaker 1: understanding of who you're playing and where they were before
• 5:35
  Speaker 1: that scene and after that scene. So it actually does
• 5:38
  Speaker 1: serve a purpose even if it's not in the movie. Yeah,
• 5:40
  Speaker 1: and it's heartbreaking sometimes because you know, I cut scenes,
• 5:43
  Speaker 1: like you said, Joel, I could have seen that Joel
• 5:45
  Speaker 1: loved and that scene is amazing and maybe there'll be
• 5:47
  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
• 5:52
  Speaker 1: do some streaming channels me too, the Disney Plus that
• 5:56
  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,
• 6:01
  Speaker 1: and they'd be the best blooper is on that. Well,
• 6:04
  Speaker 1: what's nice is like when you love a movie you
• 6:07
  Speaker 1: and you love the characters and you're kind of like,
• 6:09
  Speaker 1: I want more. Obviously, with the streaming series there'll be
• 6:12
  Speaker 1: another season, but with a movie, I guess you can go, well,
• 6:15
  Speaker 1: show me the cut scenes. I at least want to
• 6:16
  Speaker 1: watch those, you know for sure it gives you the
• 6:19
  Speaker 1: entirely different perspectives on types, to the characters and to
• 6:21
  Speaker 1: the directors or writers visions. Yeah, I love cut scenes.
• 6:25
  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
• 6:30
  Speaker 1: living under rock and didn't see a trailer, what is
• 6:32
  Speaker 1: this movie about? What's it called? It's a good Person? Okay,
• 6:34
  Speaker 1: So the reason we're doing this for those of you
• 6:37
  Speaker 1: who might be joining us for the first time because
• 6:39
  Speaker 1: you heard Florence p was on our show. This just
• 6:42
  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.
• 6:53
  Speaker 1: I always wrote it with her in mind, and I
• 6:58
  Speaker 1: when I gave it to Florence, she became a producer
• 7:01
  Speaker 1: of the film and was incredible. It was incredibly collaborative,
• 7:05
  Speaker 1: she was giving me notes that were very helpful. She
• 7:07
  Speaker 1: was giving me script ideas. And her character is a
• 7:12
  Speaker 1: singer songwriter, not as a career, but as a sort
• 7:14
  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
• 7:21
  Speaker 1: Florence if she would because she is a song Well
• 7:24
  Speaker 1: do you want to say yes? I can already already
• 7:26
  Speaker 1: here interrupting me, So Florence will now take over. Well
• 7:30
  Speaker 1: that's not that's not who she is, Alison. Well you
• 7:35
  Speaker 1: tell me you're you're Alison time. So um, there's a
• 7:39
  Speaker 1: beautiful script. I wasn't allowed to read it until it
• 7:42
  Speaker 1: was completed. Zach was writing it during the pandemic, and
• 7:46
  Speaker 1: he'd go down to the office and would write for
• 7:47
  Speaker 1: like four hours or five hours a day, and we'd
• 7:49
  Speaker 1: come back up and would be very, very excited to
• 7:52
  Speaker 1: share with me all the things that he had learned
• 7:55
  Speaker 1: about these characters. And it was at the same time
• 7:57
  Speaker 1: when he was starting the podcast that he'd go down
• 7:59
  Speaker 1: sometimes in the morning and then we'd come back in
• 8:00
  Speaker 1: the afternoon and would say, I've written this amazing scene
• 8:03
  Speaker 1: between you and Daniel, and then we'd discuss it and
• 8:07
  Speaker 1: chew the fat and talk about why that's amazing, where
• 8:11
  Speaker 1: that could go. And so I kind of was very
• 8:14
  Speaker 1: much a part of the story from the beginning and
• 8:16
  Speaker 1: understood these characters on a deeper level than if i'd
• 8:19
  Speaker 1: just been given the script one day. And when I
• 8:24
  Speaker 1: finally got the script, I Alison goes through a load
• 8:31
  Speaker 1: of amazing and awful interactions with these characters that she
• 8:34
  Speaker 1: meets throughout this story, all because of an awful tragedy
• 8:38
  Speaker 1: that happens at the very beginning of the movie. And
• 8:42
  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.
• 9:03
  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
• 9:10
  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
• 9:18
  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
• 9:25
  Speaker 1: it to Zach and Zach said, that's great. Can it
• 9:27
  Speaker 1: be in the movie? Which I had no intention of
• 9:29
  Speaker 1: it actually being in the movie. I don't remember, like, yeah,
• 9:32
  Speaker 1: I do, because I I digested it. I was digesting
• 9:35
  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
• 9:40
  Speaker 1: as I always wanted her to be. Yeah, she was
• 9:42
  Speaker 1: always going to be like a piano player. Yeah. Well, anyway,
• 9:46
  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
• 9:58
  Speaker 1: can get in the heads base of the character and
• 10:01
  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
• 10:09
  Speaker 1: that was really just special. It's a unique form of collaboration.
• 10:13
  Speaker 1: I think specifically in like cinema for yeah, for a
• 10:17
  Speaker 1: song from an actor to appear, and it's really lovely
• 10:21
  Speaker 1: and it's so wonderful to hear you seeing Florence. I
• 10:23
  Speaker 1: wonder so you knew Zach was working on the script,
• 10:27
  Speaker 1: but you couldn't read it until it was done. Am
• 10:30
  Speaker 1: I right in assuming this is the first like script
• 10:33
  Speaker 1: where a character was written with you in mind to
• 10:35
  Speaker 1: play the character. I've had. I've had people write scripts
• 10:41
  Speaker 1: and have me in mind of the role when they've
• 10:42
  Speaker 1: written it, which is very flattering and wonderful. And maybe
• 10:47
  Speaker 1: they had me in mind to act in it, and
• 10:51
  Speaker 1: that's a different thing. Zach. Write with the intention of
• 10:55
  Speaker 1: having my voice in the essence of me coming through
• 10:58
  Speaker 1: in a character. I think that was the difference there. Yeah,
• 11:01
  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
• 11:10
  Speaker 1: something to her, and because I know her so well
• 11:14
  Speaker 1: as I was writing, and I've never done this, you
• 11:16
  Speaker 1: know that. The two other features I've written, I've directed
• 11:19
  Speaker 1: four movies. The third one Going in Style, I didn't write.
• 11:22
  Speaker 1: It was a studio heist comedy. But the two others
• 11:26
  Speaker 1: I've written and wish I was here. I should note
• 11:28
  Speaker 1: I wrote with my incredibly talented brother Adam Brath. But
• 11:32
  Speaker 1: those were, you know, written for me. They were they
• 11:35
  Speaker 1: were things I was going through and dealing with, and
• 11:38
  Speaker 1: I knew that I'd be playing the character. So for
• 11:41
  Speaker 1: the first time I wrote something wanting to deal with
• 11:45
  Speaker 1: things I was dealing with and battling the grief of
• 11:48
  Speaker 1: losing my my sister and my father in the last
• 11:53
  Speaker 1: four years. And then, of course, as while I was
• 11:56
  Speaker 1: writing this, all of this happened with losing Nick to COVID,
• 12:01
  Speaker 1: our friend who is living on our property. So I
• 12:04
  Speaker 1: wanted to write about all this stuff, not tell those
• 12:06
  Speaker 1: specific stories, but write about the grief that I was
• 12:09
  Speaker 1: battling and people I loved were battling, you know, looking
• 12:11
  Speaker 1: at Amanda, cludes Nick's widow, looking at my mom, who
• 12:15
  Speaker 1: would sit by my sister's bedside every day, that was
• 12:19
  Speaker 1: just what was what what bubbled up for me in
• 12:21
  Speaker 1: the Pandemic was wanting to write about standing back up
• 12:24
  Speaker 1: after trauma and grief, but also with my own tone,
• 12:28
  Speaker 1: try and find a way to find the humor in it,
• 12:30
  Speaker 1: because I didn't want it to be too maudlin. When
• 12:33
  Speaker 1: you hear me talk about those subjects, you might be like,
• 12:35
  Speaker 1: oh my god, this is so heavy. And don't don't
• 12:37
  Speaker 1: get me wrong, the movie is emotional, but also there's
• 12:40
  Speaker 1: a lot of that. No, but I mean, you guys
• 12:42
  Speaker 1: can attest to it. That there's a lot of humor
• 12:44
  Speaker 1: as well. Oh of course, that's what you do so well,
• 12:49
  Speaker 1: is right lightness when people are in such darkness. That's
• 12:54
  Speaker 1: that's why I think it's so easy to watch your
• 12:58
  Speaker 1: movies that are about really depressing shit. Yeah. Yeah, I
• 13:04
  Speaker 1: think what I really enjoyed about it was the messiness
• 13:07
  Speaker 1: involved with like healing and standing back up. I feel
• 13:10
  Speaker 1: like a lot of times when we see it mapped
• 13:13
  Speaker 1: onto films, it's, you know, a rising arc and then
• 13:15
  Speaker 1: you reach a peak and then you're better, and that's
• 13:17
  Speaker 1: totally fine, But in real life it's a lot more
• 13:20
  Speaker 1: comple I think the most emotional scene for me is
• 13:23
  Speaker 1: again without spoiling thing, you go to a group Alice,
• 13:26
  Speaker 1: and the character goes to a group to get some
• 13:29
  Speaker 1: help and figure things out, and she's been encouraged to
• 13:32
  Speaker 1: for the first time, like speak her truth. They're like, hey,
• 13:35
  Speaker 1: you have to contribute if you're going to be here,
• 13:38
  Speaker 1: and it's such a vulnerable place and Florence obviously played
• 13:43
  Speaker 1: that so well. But then what's also happening underneath is
• 13:48
  Speaker 1: all the things she doesn't know yet, all the lies
• 13:50
  Speaker 1: she's still telling to herself, and it's such if you've
• 13:52
  Speaker 1: ever been in a position of having to take a
• 13:55
  Speaker 1: first big step. It's just it's huge. It's it's really hard,
• 14:00
  Speaker 1: and it makes you feel like just oh, it's so
• 14:02
  Speaker 1: awkward and I'm uncomfortable. And then there's also the absolute
• 14:06
  Speaker 1: certainty that they'll be failure following that. And I think
• 14:09
  Speaker 1: all of that somehow is embodied in a single moment,
• 14:12
  Speaker 1: and it was really beautiful. Thank you. I really I
• 14:16
  Speaker 1: really wanted that scene. I mean, she hasn't been honest
• 14:19
  Speaker 1: for maybe about an hour. She hasn't really truly spoken,
• 14:22
  Speaker 1: and she's very good at getting out of conversations and
• 14:25
  Speaker 1: getting out of being, you know, put on the hot seat.
• 14:27
  Speaker 1: And I think with that scene it was really really important,
• 14:30
  Speaker 1: and I really wanted that scene to be like, she
• 14:34
  Speaker 1: has to speak, she has to be truly honest and
• 14:38
  Speaker 1: actually talk about what she thinks she is and what
• 14:42
  Speaker 1: she knows she is. Otherwise I think after a while,
• 14:44
  Speaker 1: the audience would have been a bit like, oh my gosh,
• 14:46
  Speaker 1: she's getting out of another opportunity of talking about how,
• 14:49
  Speaker 1: you know, how flawed she is. And I think that moment,
• 14:53
  Speaker 1: you know, to film as well was hugely cathartic. It
• 14:56
  Speaker 1: was a scene that I was really really nervous to shoot,
• 14:59
  Speaker 1: partly because we all know what those scenes look like
• 15:02
  Speaker 1: when we watch movies. We know that it is a
• 15:06
  Speaker 1: sensitive scene. It's a sensitive topic. And also just in
• 15:09
  Speaker 1: all honesty, like the reason why I am I get
• 15:12
  Speaker 1: scared about playing characters that I play is because I
• 15:15
  Speaker 1: love the ugliness in humans and I love the rawness
• 15:21
  Speaker 1: of the characters that I get to play. And that
• 15:23
  Speaker 1: scene specifically is something that has to be done perfectly,
• 15:28
  Speaker 1: Like we have to nail it, and it has to
• 15:31
  Speaker 1: be achieved because you don't know who's going to be
• 15:34
  Speaker 1: watching this movie, and you don't know who it's going
• 15:35
  Speaker 1: to affect, who it's going to help, who it's going
• 15:37
  Speaker 1: to hurt, And a scene like that, both Morgan Morgan's
• 15:41
  Speaker 1: Share and My Share really needs to be like delicately
• 15:46
  Speaker 1: held and delicately directed. And also we cannot have to
• 15:49
  Speaker 1: nate it. You can't get scenes like that wrong's it's
• 15:53
  Speaker 1: it's so well said. And also I feel like someone
• 15:55
  Speaker 1: once said to me, the greatest scenes of all times
• 15:58
  Speaker 1: and movies that you love, whether it be Brea Endo
• 16:00
  Speaker 1: or you know, De Niro and Raging Bull, just insert
• 16:03
  Speaker 1: your favorite scene there. That was just like a regular Tuesday,
• 16:06
  Speaker 1: you know, and the actor got up and went to
• 16:08
  Speaker 1: their trailer and went to hair and makeup, and they're like,
• 16:10
  Speaker 1: it's time to do that scene. You know, I could
• 16:13
  Speaker 1: have been a contender. I think that's my line. And
• 16:17
  Speaker 1: you know, and I feel that way with with with
• 16:19
  Speaker 1: Florence and Morgan's performances in this movie, because there's some
• 16:22
  Speaker 1: scenes that you would just drop your jaw, you know.
• 16:26
  Speaker 1: And I'm someone who loves actors. This I've dedicated my
• 16:29
  Speaker 1: life to not just being an actor, but just loving
• 16:31
  Speaker 1: great actors. I go to the theater a ton as
• 16:34
  Speaker 1: you listeners know, I love it. And so those scenes,
• 16:38
  Speaker 1: I mean, there's several scenes in this movie where you're
• 16:41
  Speaker 1: just watching some of the finest acting and I just think,
• 16:45
  Speaker 1: I think, you know, as a director, you're so nervous, like, okay,
• 16:48
  Speaker 1: today is a scene that's super intense, and um, you know,
• 16:53
  Speaker 1: is Morgan in the right headspace? Is Florence in the
• 16:55
  Speaker 1: right headspace? How what was their morning? Like, you know,
• 16:58
  Speaker 1: was the coffee shit? And they're in a bad mood
• 17:00
  Speaker 1: like you you just you know, it's a director, you're
• 17:02
  Speaker 1: so nervous, you know, as an actor, more nervous, you know,
• 17:06
  Speaker 1: of hard scenes. But it's funny. I was in a movie.
• 17:09
  Speaker 1: One of my first movies was a movie called Broken
• 17:11
  Speaker 1: Hearts Club and Greg Berlanti, who's now become one of
• 17:14
  Speaker 1: the biggest show runners in town, but it was his
• 17:16
  Speaker 1: first directing thing, and he always say, you have a
• 17:18
  Speaker 1: big scene today. You ready for your big scene today,
• 17:21
  Speaker 1: And it was like, no, I would not on the
• 17:26
  Speaker 1: day he would, Oh god. But anyway, my memory of
• 17:32
  Speaker 1: it is, I'm sorry I did that because I remember
• 17:34
  Speaker 1: Greg being like and I'd be like, Greig, you're building
• 17:37
  Speaker 1: it up so much, and now I'm now I'm scared.
• 17:42
  Speaker 1: But um, but Florence, you you have you do deliver
• 17:46
  Speaker 1: every single time, and it's just such a joy to
• 17:50
  Speaker 1: to watch it happen because you know, for you know,
• 17:53
  Speaker 1: some actors need to stay in character, and there's no
• 17:55
  Speaker 1: there's no right way or wrong way to accomplish this
• 17:58
  Speaker 1: very hard task of being vulner on que go. Some actors,
• 18:03
  Speaker 1: as we all know, need to need to stay in
• 18:05
  Speaker 1: that for the day or stay in it for the
• 18:08
  Speaker 1: length of the movie. And you know, both Florence and
• 18:11
  Speaker 1: Natalie Portman are are wonderful actor says that I've had
• 18:14
  Speaker 1: a chance to work with who both can magically. I mean,
• 18:17
  Speaker 1: I want you to speak to this because it's your process,
• 18:19
  Speaker 1: but Florence also can do something that's such an incredible
• 18:24
  Speaker 1: moment and then kind of take a breath and like
• 18:26
  Speaker 1: you know, turn around and talk to the dolly grip
• 18:28
  Speaker 1: about like you know, you know, how is his dinner
• 18:31
  Speaker 1: last night? And what he ate? You know? And how
• 18:33
  Speaker 1: do you how do you want to know? But how
• 18:35
  Speaker 1: do you I guess for me, as someone who can't
• 18:37
  Speaker 1: necessarily be that easy with it, how do you do that?
• 18:41
  Speaker 1: I was actually talking about this in an interview esday someone,
• 18:44
  Speaker 1: a woman asked me a similar question, and I hadn't
• 18:49
  Speaker 1: really put that much thought into it, but I think
• 18:54
  Speaker 1: I really love living in the adrenaline of a moment
• 18:58
  Speaker 1: and a scene, and I really love that man magic
• 19:02
  Speaker 1: energy that happens between the actor and myself in front
• 19:05
  Speaker 1: of a camera right then and there. And part of
• 19:08
  Speaker 1: the thrillers that I get to live in it for
• 19:11
  Speaker 1: two or three minutes or a minute and a half,
• 19:15
  Speaker 1: and then it's almost like wrestling, and then you go, okay, break, break,
• 19:18
  Speaker 1: and then I kind of have to get out of it,
• 19:20
  Speaker 1: just almost so that I can jump in it in
• 19:22
  Speaker 1: the same excited and thrilling and energizing way as the
• 19:26
  Speaker 1: last time, unless, of course, it's like a major moment
• 19:30
  Speaker 1: where I need to go over something physically. I think
• 19:32
  Speaker 1: I'm a very physical actor, Like I need to know
• 19:35
  Speaker 1: how I'm going to react to something. So for example,
• 19:38
  Speaker 1: in the wrestling scene with Molly and I like figuring
• 19:41
  Speaker 1: out how I'm going to turn an ache or move
• 19:43
  Speaker 1: like that's really important to me and I'll definitely prep
• 19:47
  Speaker 1: over that. But when it's when it's about catching that
• 19:50
  Speaker 1: right moment, I love living in the adrenaline of that
• 19:53
  Speaker 1: moment for that second for that scene and then drop
• 19:57
  Speaker 1: like and come back to it when I can do
• 19:59
  Speaker 1: it again. It's a very it's a very very special skill.
• 20:05
  Speaker 1: I as an actor find that I can't really do
• 20:08
  Speaker 1: that as well the times where I have had to
• 20:09
  Speaker 1: do major emotional scenes. For in Garden State, for example,
• 20:15
  Speaker 1: it ended up I ended up making it about the
• 20:18
  Speaker 1: single tier and the tub and she collects it with
• 20:20
  Speaker 1: the cup, which ended up being great. But what I
• 20:22
  Speaker 1: had first initially written it as was that he has
• 20:26
  Speaker 1: a full emotional breakdown, and that happened in the Wide
• 20:30
  Speaker 1: Master shot. I was so present, Natalie was so good.
• 20:33
  Speaker 1: We had no crew in there except the two cameramen
• 20:36
  Speaker 1: and a boom mic, and I and I had this
• 20:40
  Speaker 1: really emotional release and then then I then I the
• 20:44
  Speaker 1: director moved the camera in tight to cover it, and
• 20:47
  Speaker 1: I just couldn't find it again. And so I said
• 20:51
  Speaker 1: to myself, as a young director, I said, you know,
• 20:54
  Speaker 1: if that's not happening, then that's not the scene, because
• 20:59
  Speaker 1: I have a very big pet peeve and I'm going
• 21:01
  Speaker 1: to hand it on to you audience. Now you will
• 21:03
  Speaker 1: see it and it'll bother you too. Actors who are
• 21:06
  Speaker 1: crying with their voice but there's no tears coming out
• 21:10
  Speaker 1: of their eyes, crocodile tears. I really like you. And
• 21:14
  Speaker 1: it's a big scene and you're like, oh, then they
• 21:16
  Speaker 1: should have just pivoted and the character. If the actor
• 21:19
  Speaker 1: isn't feeling it or it's not happening, then you need
• 21:22
  Speaker 1: to pivot. And that character's not crying. But as an actor,
• 21:25
  Speaker 1: I've always loved that about you, And I mean you
• 21:30
  Speaker 1: told me that anecdote years before we work together, and
• 21:34
  Speaker 1: I've always loved that because usually in script, especially as
• 21:38
  Speaker 1: a young actress, you'd always get this scene in even
• 21:41
  Speaker 1: in audition scenes where like she'd be saying something and
• 21:44
  Speaker 1: then the direction would be like and then a tear
• 21:46
  Speaker 1: falls down her face, and you're like, I don't know
• 21:49
  Speaker 1: people that actually cry openly. I don't. I always hide
• 21:52
  Speaker 1: my face or I go in a bathroom, Like, you
• 21:54
  Speaker 1: don't see people usually just crying all the time. It
• 21:57
  Speaker 1: doesn't happen. It just happens in movies. And I loved
• 22:00
  Speaker 1: when you kind of release that pressure of it. It's like,
• 22:03
  Speaker 1: if it doesn't happen, it's not supposed to happen. You
• 22:05
  Speaker 1: even tell me to take it out of the script. Yeah,
• 22:07
  Speaker 1: I did, which I thought was really cool because she
• 22:09
  Speaker 1: said because there were there were moments in my screenplay
• 22:12
  Speaker 1: where it would say, you know Ali's eyes well, and
• 22:15
  Speaker 1: she goes, would you mind just taking all of that
• 22:17
  Speaker 1: out because I need to feel it naturally. If it
• 22:20
  Speaker 1: happens on the day, it'll happen on the day. Um.
• 22:23
  Speaker 1: But I when I see it written, it makes me uncomfortable,
• 22:26
  Speaker 1: like it's and I totally I totally think that's why
• 22:28
  Speaker 1: it feels like you then have to take a box
• 22:31
  Speaker 1: with it. It's like you then I think when when
• 22:33
  Speaker 1: the when I mean obviously. For example, if there's like
• 22:36
  Speaker 1: a direction in a script where it's like gunshots go off,
• 22:39
  Speaker 1: everybody's terrified, Like, of course that makes sense, but no,
• 22:44
  Speaker 1: I know, and I'm saying, but with with emotion, it's
• 22:46
  Speaker 1: like it's it's completely depend on if a if the
• 22:49
  Speaker 1: script gets you there be if if it's making sense
• 22:51
  Speaker 1: with you and the other actor, And I just I've
• 22:53
  Speaker 1: always loved that about you just taking the pressure off.
• 22:56
  Speaker 1: I think it's a very kind thing to do as
• 22:58
  Speaker 1: a director. Well, thank you. I was just going to ask,
• 23:00
  Speaker 1: do you think it makes the writing stronger too, because
• 23:02
  Speaker 1: you can cue like oh and then they cry. Okay,
• 23:04
  Speaker 1: so now we know that the character is sad versus
• 23:07
  Speaker 1: you had to construct the dialogue in such a way
• 23:09
  Speaker 1: that it was emoting to both of the actor performing. Honest, yeah,
• 23:13
  Speaker 1: I think if someone says and then they cry, I
• 23:15
  Speaker 1: think that's quite lazy. It's like, well, why are they
• 23:17
  Speaker 1: just crying? Well, I would say that I think that's
• 23:21
  Speaker 1: a really well said jewel because I find as an
• 23:23
  Speaker 1: actor there are moments where I'm just reading the page
• 23:30
  Speaker 1: and my eyes will well and I'm like, wow, that's
• 23:33
  Speaker 1: been written in such a way that I'm naturally going
• 23:36
  Speaker 1: to feel that. But but I just think you know,
• 23:40
  Speaker 1: and it's if you're a young filmmaker or an actor
• 23:42
  Speaker 1: listening to this. My my two cents after making a
• 23:45
  Speaker 1: bunch of stuff is you know, if you're if, if
• 23:50
  Speaker 1: you want if, if you expect the actor to cry
• 23:53
  Speaker 1: or have a moment, it has to come naturally. And
• 23:57
  Speaker 1: then if it's not happening on the day, by all means,
• 24:00
  Speaker 1: do not have the person make crying noises and have
• 24:03
  Speaker 1: no tears in their eyes, because that, to me is
• 24:05
  Speaker 1: so false. And you will now I'm sorry, I've been
• 24:08
  Speaker 1: ruin a lot of movies for you. You will see
• 24:10
  Speaker 1: it all over the place. Now you'd be like, but
• 24:12
  Speaker 1: why are their eyes not teary? Like? Yeah, Now, if
• 24:19
  Speaker 1: you absolutely, if it is script dependent that the persons
• 24:22
  Speaker 1: eyes are, well, there's this thing. There's a cheat way
• 24:25
  Speaker 1: where you can blow um um. It's like a menthal
• 24:28
  Speaker 1: thing that and it makes your eyes cry. But you
• 24:32
  Speaker 1: have to shoot and then you have to get that,
• 24:33
  Speaker 1: you have to say action and then the tear comes out.
• 24:35
  Speaker 1: You don't have any time. Yeah, it's not like you
• 24:37
  Speaker 1: can do a two minute scene and then it well yeah, yeah, exactly.
• 24:40
  Speaker 1: It doesn't happen. And then also nowadays, it's true, you'll
• 24:43
  Speaker 1: see them now too. The the the age of CGI
• 24:46
  Speaker 1: tears has a role, I know. But I gotta say
• 24:51
  Speaker 1: one thing about CGI tears that is is that is
• 24:53
  Speaker 1: good and this sty know there is one thing probably
• 24:58
  Speaker 1: you should not. You should not use CGI t uh
• 25:01
  Speaker 1: as totally fake. But there are moments when you are
• 25:03
  Speaker 1: cutting a piece where someone is crying with continuity and
• 25:07
  Speaker 1: the most amazing take is natural and real, and then
• 25:11
  Speaker 1: you need to cut to the side angle for whatever
• 25:13
  Speaker 1: reason and there's no tiers. You're fucked unless you have
• 25:16
  Speaker 1: this new invention. So then it is fine to match No, no,
• 25:20
  Speaker 1: I'm okay with a CGI tier if it is matching
• 25:24
  Speaker 1: continuity for a actual emotion. That's my personal take, isn't it.
• 25:28
  Speaker 1: But I can tell you right now there is there.
• 25:29
  Speaker 1: We had no budget for cgo. Can we go back
• 25:41
  Speaker 1: a little bit. I know you've rehashed your career before,
• 25:46
  Speaker 1: but just for our audience who might not know, I
• 25:48
  Speaker 1: just I just think your story is so incredible and
• 25:50
  Speaker 1: I know you've spoken about it before, but just for
• 25:52
  Speaker 1: our audience who might not know it, will you talk
• 25:54
  Speaker 1: about how you were discovered you were, you were in
• 25:57
  Speaker 1: school and they were gonna make a movie with Maizie Williams.
• 26:03
  Speaker 1: So I was definitely at school. I was sixteen, sixteen,
• 26:10
  Speaker 1: seventeen years old and it was just finishing, I think
• 26:15
  Speaker 1: my second to last year of school, and everybody around
• 26:20
  Speaker 1: town was talking about this tape. Have you done this tape?
• 26:23
  Speaker 1: Have you done this tape? And essentially the BBC we're
• 26:26
  Speaker 1: making a movie called The Falling, directed by Carol Morley,
• 26:29
  Speaker 1: starring Mazie Williams, and they needed to fill a school's
• 26:33
  Speaker 1: worth of girls. They needed to find faces that could
• 26:37
  Speaker 1: be possibly from nineteen sixty nine, just like different interesting,
• 26:42
  Speaker 1: normal faces. You didn't need to be anything special other
• 26:45
  Speaker 1: than maybe you fit the look of a girl being
• 26:48
  Speaker 1: at this school during this era. And they basically just
• 26:51
  Speaker 1: needed to find as many girls as possible, some just
• 26:55
  Speaker 1: to be essays background and some to be extras and
• 26:59
  Speaker 1: some to be characters. But they were just trying to
• 27:01
  Speaker 1: find new talent. They didn't want anybody that was recognizable.
• 27:05
  Speaker 1: And honestly, it was like two months of everybody saying
• 27:08
  Speaker 1: I've done the tape. I heard its first come, first serve,
• 27:12
  Speaker 1: and every school from London to Oxford was talking about
• 27:15
  Speaker 1: this tape, this tape, and it was you just have
• 27:18
  Speaker 1: to do him one minute tape and you have to
• 27:20
  Speaker 1: say who you are, what your name is, what you're
• 27:22
  Speaker 1: good at, what school you're at, where you are, and
• 27:25
  Speaker 1: that's it. You had it in that tape and if
• 27:26
  Speaker 1: you didn't hear anything back, you didn't hear anything back.
• 27:29
  Speaker 1: And my brother had been in the industry for a
• 27:31
  Speaker 1: fair few years prior to this, and I'd been watching
• 27:34
  Speaker 1: his you know, entrance into the industry and just how
• 27:37
  Speaker 1: hard it was and how cutthroat it was, and how
• 27:39
  Speaker 1: you'd do hundreds of tapes every two weeks and no
• 27:42
  Speaker 1: one would ever get back to you. All they might
• 27:44
  Speaker 1: do and you have to be there at Friday at
• 27:46
  Speaker 1: nine am to do this you know, ten minute audition
• 27:49
  Speaker 1: and then they also might not tell you again, just
• 27:50
  Speaker 1: like the brutal reality of what it is to be
• 27:52
  Speaker 1: a young actor or just a new actor in the industry.
• 27:55
  Speaker 1: And my mum had very much helped him out of
• 27:58
  Speaker 1: figuring that out as well. And I remember when this
• 28:00
  Speaker 1: tape was going around, I was like, absolutely not, I'm
• 28:03
  Speaker 1: not doing this tape, Like I know, I know how
• 28:05
  Speaker 1: hard it is because I can see how hard it
• 28:07
  Speaker 1: is from my brother, and there's no way in hell
• 28:09
  Speaker 1: that anyone is going to be giving one of these
• 28:11
  Speaker 1: random one of us random girls a role in this movie.
• 28:15
  Speaker 1: And I remember the deadline was on Saturday and I
• 28:17
  Speaker 1: got back home from school. My mom was like, have
• 28:21
  Speaker 1: you done the tape? I literally rolled my eyes and
• 28:24
  Speaker 1: I was like, you're kidding, you know about this tape? No,
• 28:27
  Speaker 1: I haven't on the tape. What do you mean? She
• 28:30
  Speaker 1: was like, what do you mean you haven't done the tape?
• 28:31
  Speaker 1: I was like, well, mom, you know better than anyone. Like,
• 28:34
  Speaker 1: why the hell am I doing this leaf audition? I'm
• 28:36
  Speaker 1: not going to get it. No one's gonna get it.
• 28:38
  Speaker 1: It's going to go to someone famous. Why are we
• 28:40
  Speaker 1: doing this? This is ridiculous? And she was like no,
• 28:42
  Speaker 1: no, no no, I know you're not going to get it,
• 28:44
  Speaker 1: but why don't we just give it a go because
• 28:46
  Speaker 1: this is something that you want to do and maybe
• 28:48
  Speaker 1: we can just start practicing, you know, being on camera
• 28:50
  Speaker 1: and talking to camera and just start figuring it out,
• 28:53
  Speaker 1: because at some point we're gonna have to figure it out.
• 28:55
  Speaker 1: And I was like begrudgingly going like oh, fine, okay,
• 28:58
  Speaker 1: And I had like greasy hair and a sweaty stars
• 29:00
  Speaker 1: and I was so not okay to do a tape.
• 29:02
  Speaker 1: And I handed in this tape and I said it
• 29:04
  Speaker 1: and I even made a mistake in it. I forgot
• 29:06
  Speaker 1: how old I was, and my mum shouts from off camera,
• 29:09
  Speaker 1: going how old, and I go. And then on Monday,
• 29:15
  Speaker 1: I got an email from Shaheen Bay Casting, who cast
• 29:19
  Speaker 1: the movie, and she said that Carol Morley wanted to
• 29:22
  Speaker 1: meet me in two weeks time. Here are the sides
• 29:27
  Speaker 1: you get a meeting with a director. And I was
• 29:29
  Speaker 1: like absolutely dumb foundered because this is not what I've
• 29:32
  Speaker 1: been telling everybody at school. Anyway, I went in and
• 29:36
  Speaker 1: then after that it was like six months of re
• 29:38
  Speaker 1: auditions and cameras, detests and all of this stuff, and
• 29:41
  Speaker 1: it was mind blowing to me. I'd never done any
• 29:43
  Speaker 1: of this before, and I'd never gone to an audition before.
• 29:46
  Speaker 1: And when I went to my audition, I remember I
• 29:47
  Speaker 1: was wearing this little gray crop top, like like a
• 29:50
  Speaker 1: little like turtleneck gray crop top, and by the time
• 29:53
  Speaker 1: I went into the room, my sweatpatches were down below
• 29:55
  Speaker 1: my boobs and I was just like, I was so terrified,
• 29:57
  Speaker 1: and I'd been I'd caught a train with my mum
• 29:59
  Speaker 1: to which was really big, and it's like just all
• 30:02
  Speaker 1: the scary stuff that you know, as a seventeen year
• 30:05
  Speaker 1: old you're not usually doing job auditions or were you
• 30:08
  Speaker 1: were excited at me. I was so excited, but it
• 30:10
  Speaker 1: was just I just was like I was so nervous
• 30:14
  Speaker 1: that because of my um, because of not knowing how
• 30:17
  Speaker 1: to do it, that they were going to catch me out.
• 30:20
  Speaker 1: And I did my first audition and I remember literally
• 30:24
  Speaker 1: like the day later, I got another email saying Carol
• 30:29
  Speaker 1: Moore would like to see you again. And then each
• 30:30
  Speaker 1: time it was like Okay, wow, get again in the
• 30:33
  Speaker 1: mode of this learning all my life, you know, it
• 30:35
  Speaker 1: was just it was nuts, absolutely nuts. And then I
• 30:36
  Speaker 1: didn't find out until end of September. So I handed
• 30:39
  Speaker 1: in the tape in June maybe May, and I didn't
• 30:44
  Speaker 1: find out until September. It was a whole summer of
• 30:47
  Speaker 1: like coming in and then I got the movie and
• 30:50
  Speaker 1: I got the supporting role and it was playing I
• 30:52
  Speaker 1: was playing opposite Maizie Williams, and it was like, whoa,
• 30:55
  Speaker 1: I'm in a movie and I'm missing two months of
• 30:57
  Speaker 1: school and this is so cool. And I lived in
• 31:00
  Speaker 1: a house with all these beautiful young actors happenings happening.
• 31:04
  Speaker 1: Mazie Williams was and it is like the topest name
• 31:08
  Speaker 1: that anyone knows of, and we were just living in
• 31:12
  Speaker 1: a house together, and it was just quite possibly one
• 31:13
  Speaker 1: of the most amazing eye opening Oh my god, Yes,
• 31:17
  Speaker 1: this is exactly what I want to do. Thank God.
• 31:19
  Speaker 1: This has been my daydream since I was like six,
• 31:22
  Speaker 1: And it was just so cool to think that the
• 31:23
  Speaker 1: thing that I had been dreaming of doing was actually
• 31:25
  Speaker 1: really fun and I really loved it. And I remember
• 31:27
  Speaker 1: being on set the same thing as now, asking you
• 31:30
  Speaker 1: know what a prop master is and what they had
• 31:32
  Speaker 1: for dinner? And can I help you out? And can
• 31:35
  Speaker 1: I help clean things? And asking, but I just constantly
• 31:38
  Speaker 1: asking questions. What's a boom? What's a boom operator? Like
• 31:41
  Speaker 1: all of these, all of these fascinating things. I would
• 31:43
  Speaker 1: go to go back home and I'd be so excited
• 31:46
  Speaker 1: and high from the day that I wouldn't be able
• 31:48
  Speaker 1: to sleep. And I remember my alarm would go off
• 31:50
  Speaker 1: at three thirty or four and I'd leap out of
• 31:52
  Speaker 1: bed just out of excitement. And then when we completed
• 31:56
  Speaker 1: the movie, I ended up my actually, big, very very
• 32:01
  Speaker 1: kindly knew that she wanted to get me an agent,
• 32:04
  Speaker 1: and she wanted to help me get an agent, and
• 32:05
  Speaker 1: so she set up these meetings, and I had an agent.
• 32:08
  Speaker 1: And the whole plan usually was that I was going
• 32:10
  Speaker 1: to go to drama school and then after that i'd
• 32:12
  Speaker 1: probably get an agent or trying it an agent. But
• 32:14
  Speaker 1: now I had this agent, so it was like, okay, well,
• 32:16
  Speaker 1: all I need to do now is finished school, which
• 32:17
  Speaker 1: I did not want to do. My mom was like, babe,
• 32:20
  Speaker 1: just finish it. I don't care what you get. Just
• 32:23
  Speaker 1: finish it. Go to school, get it done, and then
• 32:25
  Speaker 1: we can crack on with it. And so that's what happened.
• 32:27
  Speaker 1: So in the last few months of school, I'd be
• 32:31
  Speaker 1: going to do auditions on the weekends. We're going to
• 32:33
  Speaker 1: do this with that and then and you never did
• 32:35
  Speaker 1: go to dramas. I never went to drama school. I
• 32:37
  Speaker 1: had my agent, and I got doing auditions, and then
• 32:40
  Speaker 1: I obviously had to realize that you don't ever get
• 32:43
  Speaker 1: the first job your audition for, and then I had
• 32:46
  Speaker 1: to figure out how to actually do audition. You had
• 32:49
  Speaker 1: the ultimate case of well, it's not luck because we've
• 32:52
  Speaker 1: seen what's become of your career. But you did have
• 32:54
  Speaker 1: a case of like getting the first thing you're well.
• 32:56
  Speaker 1: But I mean when when the young actors asked me like, oh,
• 32:59
  Speaker 1: how did you get into the industry, I go, do
• 33:00
  Speaker 1: not listen to me at all? Like my I think
• 33:03
  Speaker 1: every way into the industry is a fluke and every
• 33:06
  Speaker 1: way in is like hard work no matter how which
• 33:08
  Speaker 1: way comes, because ultimately, even if you get an easy
• 33:12
  Speaker 1: way in, it's what you do with when you have
• 33:13
  Speaker 1: the microphone, and it's what you do with when you
• 33:15
  Speaker 1: have the stage, and it's like if if, if you're shit,
• 33:18
  Speaker 1: it's not going to continue. And I think for me,
• 33:21
  Speaker 1: I had to be I was at the right place
• 33:23
  Speaker 1: at the right time, right age with the director that
• 33:26
  Speaker 1: wanted to find someone that was new and had a
• 33:27
  Speaker 1: new face. And I had a casting team that just
• 33:31
  Speaker 1: actually wanted to support me and get me an agent,
• 33:34
  Speaker 1: and she he and then cast me in Fighting My Family.
• 33:37
  Speaker 1: She cast me and Lady Macbeth like all these movies
• 33:39
  Speaker 1: that really made my career. Yeah, but also I mean
• 33:42
  Speaker 1: she discovered that you had a natural I knew what
• 33:44
  Speaker 1: to do when I had the mic Yeah. Yeah, Now
• 33:47
  Speaker 1: how long after was Lady Macbeth. Lady Macbeth was two
• 33:52
  Speaker 1: years later, so I did the Falling when I was seventeen,
• 33:56
  Speaker 1: finished school, turned eighteen, and then I had just a
• 33:59
  Speaker 1: year of doing all additions and trying to figure out
• 34:01
  Speaker 1: if I can do this, if I'm good at it,
• 34:03
  Speaker 1: And then I did a pilot in the first month
• 34:06
  Speaker 1: or two and I turned nineteen. That didn't go, and
• 34:09
  Speaker 1: then pretty much like two months later, I started choosing
• 34:12
  Speaker 1: Lady Macbeth, which, okay, so for those of you whom
• 34:15
  Speaker 1: I'm going to interrupt, you just say, for those who
• 34:16
  Speaker 1: haven't seen Lady Macbeth, you really need to see this movie.
• 34:19
  Speaker 1: It is really truly The following was Florence's first job,
• 34:23
  Speaker 1: and but Lady McBeth is what launched her on to
• 34:28
  Speaker 1: everyone's radar, and it was an incredible film. It doesn't
• 34:31
  Speaker 1: have anything to do with this Shakespeare's Macbeth, although the
• 34:34
  Speaker 1: character is. The title is probably a nod to behaviors
• 34:38
  Speaker 1: of the character dys It's a play, okay, so in
• 34:46
  Speaker 1: play it's an opera and a play, and it was
• 34:48
  Speaker 1: adapted to a very low budget independent film. I think
• 34:51
  Speaker 1: it takes almost place. I think it takes place almost
• 34:55
  Speaker 1: entirely in one house, one house and a few mores,
• 34:57
  Speaker 1: and we shot it in like two and a bit
• 34:59
  Speaker 1: weeks for a quarter of a million. Yeah, so it
• 35:02
  Speaker 1: was it cost a quarter million dollars to make, which,
• 35:04
  Speaker 1: if you don't know, movie budgeting is minuscule and two
• 35:08
  Speaker 1: weeks time and it's just an ultimate example. I'm not
• 35:11
  Speaker 1: just saying this because Florence is here. It is just
• 35:13
  Speaker 1: the ultimate example if if the writing is brilliant and
• 35:16
  Speaker 1: the acting is brilliant, you can have people on the
• 35:19
  Speaker 1: edge of your sheet and have a movie take place
• 35:21
  Speaker 1: in one house and every single person who loves actors
• 35:29
  Speaker 1: and acting who saw that movie said, who the hell
• 35:33
  Speaker 1: is this person? Because it was an incredible, incredible performance
• 35:39
  Speaker 1: and you were nominated for a Bathta I believe, or
• 35:41
  Speaker 1: did you win a Bafta? I want a Biffer And
• 35:44
  Speaker 1: I was nominated for a Bafta. Yeah at how old? Well?
• 35:48
  Speaker 1: I did the movie when I was nineteen, So there
• 35:49
  Speaker 1: you go. That's pretty incredible. Thank you. I highly highly
• 35:53
  Speaker 1: recommend that film. And my scene pawn is his Naomi Aki. Yeah,
• 36:00
  Speaker 1: wonderful Naomi Aki and Cosmo Jarvis who are doing wonderful
• 36:04
  Speaker 1: work and every time I see them at events. It's
• 36:06
  Speaker 1: like seeing like your sibling from when you were younger
• 36:09
  Speaker 1: and before you got adopted. It was like, it's truly like,
• 36:12
  Speaker 1: oh my god, there you are from from the past. Um.
• 36:15
  Speaker 1: And Naomi is doing incredible work and she's so unbelievably
• 36:19
  Speaker 1: talented and beautiful, and it's been so wonderful watching her
• 36:23
  Speaker 1: rise after playing Whitney m Did you see it? Um? No,
• 36:28
  Speaker 1: I didn't see the film, but I know that she's
• 36:30
  Speaker 1: an incredible actress because she's incredible in the movie. And um,
• 36:34
  Speaker 1: and I've I've watched I think some other things with her. UM,
• 36:39
  Speaker 1: So I don't um. And then, of course Midsommer. So
• 36:44
  Speaker 1: many people love that movie. Yeah, if you're weird, then
• 36:47
  Speaker 1: you love it. I think too. There some people come
• 36:52
  Speaker 1: up to me and they're like, oh my god, Midsummer
• 36:54
  Speaker 1: is my favorite movie ever. I watched it. I watch
• 36:57
  Speaker 1: it all the time, and I'm like, you're really would
• 37:01
  Speaker 1: I accept it? I cheer every time. Yeah. And every
• 37:05
  Speaker 1: time I watched with a guy, they're like, what are
• 37:07
  Speaker 1: you doing? I'm like, it's just so beauty. Chose yourself,
• 37:09
  Speaker 1: but it's so lovely. I love This movie has spawned
• 37:13
  Speaker 1: more fan art than any other film I've ever seen. Yeah,
• 37:15
  Speaker 1: he used to collect it. He used to collect the
• 37:18
  Speaker 1: fan and put them on a shelf. It was very cute. Well,
• 37:22
  Speaker 1: I there's so much fan art for Midsommart that I
• 37:26
  Speaker 1: would if Florence would look at some of it. But
• 37:28
  Speaker 1: I would go to deep dive because I just thought
• 37:29
  Speaker 1: it was I mean, there's so much talent. You know,
• 37:31
  Speaker 1: there's sculptures of her. There's actually actually would get things made,
• 37:35
  Speaker 1: like I know, I didn't I didn't commission them. I
• 37:37
  Speaker 1: would like find them and be like, how could Florence
• 37:39
  Speaker 1: not own this? She needs And I would DM the
• 37:42
  Speaker 1: artist and be like, are you selling this? Because I
• 37:45
  Speaker 1: know Florence Pew and she should own it. And the
• 37:48
  Speaker 1: person would be like, Florence is gonna own it? And
• 37:52
  Speaker 1: I know no one. I'd be like, I am not
• 37:54
  Speaker 1: taking it, your artist, beautiful. You name the price, and
• 37:57
  Speaker 1: I always obviously paid and then paid them, probably more
• 38:00
  Speaker 1: than they were asking. But there were a few things.
• 38:02
  Speaker 1: There were just you got me airings downy airings. Well,
• 38:05
  Speaker 1: there there was a pin, there were pins. Got the pin,
• 38:08
  Speaker 1: and I got the little sculpture. There's a sculpture. You
• 38:11
  Speaker 1: can go on Etsy and just go down on Midsummer
• 38:13
  Speaker 1: Art wormhole, the amazing posters from all around the world.
• 38:16
  Speaker 1: Didn't you give me the Japanese? Yes, there's a Japanese don't.
• 38:20
  Speaker 1: I don't know if it was their official poster or
• 38:22
  Speaker 1: if it was a special commission, but um, it was gorgeous.
• 38:26
  Speaker 1: You can google image it if you're curious. And I
• 38:28
  Speaker 1: and I and I hunted that down and bought that
• 38:31
  Speaker 1: for you. Um, I just think that's so cool. I
• 38:33
  Speaker 1: geek out like Florence, like with the with the with
• 38:35
  Speaker 1: the Black Widow toys. She's not nearly as interested as
• 38:38
  Speaker 1: I am, Like, am I look at it? I'm like, oh,
• 38:40
  Speaker 1: that's a little me. That's no. I remember pulling out
• 38:42
  Speaker 1: the Lego figurine. Now, first of all, Legos were my
• 38:44
  Speaker 1: favorite thing as a child, and I still love them
• 38:47
  Speaker 1: as an adult. Obviously, Um, Donald and I. That's another
• 38:49
  Speaker 1: thing Donald and I sharing common is our love of Legos.
• 38:52
  Speaker 1: But when the Black Widow, when the Black Widow Legos
• 38:55
  Speaker 1: set out set came out, I bought it and I
• 38:57
  Speaker 1: was running to Florence like, you're a fucking Lego figure
• 39:01
  Speaker 1: And She's like, that's so cool, that's so cool. I'm like,
• 39:03
  Speaker 1: you're not excited enough, but I got to see you excited,
• 39:09
  Speaker 1: which was it's just as good. Oh my gosh, I
• 39:13
  Speaker 1: listen on the Life Goals list. Uh. You know, I'm
• 39:16
  Speaker 1: honored to be a Funko pop but I really would
• 39:18
  Speaker 1: love to be a Lego figure that Lego Yeah, harrigan.
• 39:21
  Speaker 1: I don't know why Lego has not made the freck
• 39:24
  Speaker 1: from Obi one set yet. What's going on, guys? Yeah?
• 39:37
  Speaker 1: But um, so talk a little bit about black Widdow because,
• 39:40
  Speaker 1: as you know, um, Joelle and Donald in particular are
• 39:43
  Speaker 1: Marvel mega fans. Well, what do you want to know? Yeah,
• 39:46
  Speaker 1: we have the script for Thunderbirds. You want us to
• 39:47
  Speaker 1: read it? It's what's it called? Oh? I'm sorry, Come on, Joel,
• 39:55
  Speaker 1: would you like us to perform the Thunderbolt screenplay for you?
• 39:58
  Speaker 1: Right a? Please? Oh my gosh. Well, I'm giving you
• 40:02
  Speaker 1: a moment to ask any of your Marvel questions on
• 40:04
  Speaker 1: behalf of you and Donald's. She obviously can't say much,
• 40:09
  Speaker 1: but yes, yes, okay. Do you want to know who's
• 40:12
  Speaker 1: in Thunderbolts? Are we allowed to say? I don't even
• 40:14
  Speaker 1: know who's in Thunderbolts. I find out online. I'm like, okay,
• 40:18
  Speaker 1: all right, that's how secret. Well this isn't a secret
• 40:21
  Speaker 1: because I'll tell you stuff that has been on the
• 40:23
  Speaker 1: interweb that Harrison Ford, isn't it? Yes, you tell me that.
• 40:27
  Speaker 1: Actually that's my friend. Um, I believe what is that
• 40:31
  Speaker 1: amazing actress from The Bear? Yes, she's in it? Oh? Yes,
• 40:38
  Speaker 1: what's her name? I owe a debris. She's incredible, so funny.
• 40:44
  Speaker 1: I did squeal when I read that. I read that
• 40:47
  Speaker 1: on the interweb. She's in it. I'm going to be
• 40:49
  Speaker 1: her best friend, even if, even if I don't know
• 40:52
  Speaker 1: how I'm going to make that happen. I think that
• 40:53
  Speaker 1: you like tax Florence because we need to see the
• 40:56
  Speaker 1: drinking adventures of you. And yeah, yeah she um man,
• 41:01
  Speaker 1: I love the Bear and she's just fantastic in it.
• 41:05
  Speaker 1: Um I think um Sebastian stand and um, I believe
• 41:10
  Speaker 1: why it Russell is in it? Yeah, I mean that's it.
• 41:14
  Speaker 1: I think that's that's on the interwebs. Is Stephen this die? Thanks? Uh?
• 41:21
  Speaker 1: And I bet you Julie's dry fist is probably in it.
• 41:23
  Speaker 1: I I guys, this is tricky stuff. Yeah, we don't
• 41:27
  Speaker 1: want to get we don't. We don't want to but
• 41:29
  Speaker 1: I can't talk about the one that I have already
• 41:31
  Speaker 1: done and the series that I was already done. Yeah,
• 41:34
  Speaker 1: so on what was that like? I mean, just for
• 41:36
  Speaker 1: you know, a lot of our audience does love Marvel,
• 41:38
  Speaker 1: and um so tell us just you know, I know
• 41:41
  Speaker 1: you've spoken about it a lot, but but you know,
• 41:43
  Speaker 1: what's it like to step into a movie that gargantuan?
• 41:45
  Speaker 1: I mean the movie. I remember watching that movie and
• 41:47
  Speaker 1: being like, I just can't fathom the scale of this thing.
• 41:51
  Speaker 1: When you guys are when you win that that sequence
• 41:53
  Speaker 1: for example, of the skydiving with Scarlet and and I mean,
• 41:57
  Speaker 1: how does the fun did he? Was that even done? Know?
• 42:00
  Speaker 1: I mean I do know? So yeah, I mean saying
• 42:04
  Speaker 1: Yester project like that is all for the right reasons
• 42:09
  Speaker 1: terrifying because for me, it's a world that means so
• 42:14
  Speaker 1: much to so many and so many people know my
• 42:17
  Speaker 1: character better than I'll ever know it, and i'd lain
• 42:21
  Speaker 1: I had never been played before. It's also you know,
• 42:24
  Speaker 1: she's associated with Black Widow, with Scarlett's character who also
• 42:30
  Speaker 1: everybody has such a sensitive and tough time discussing her
• 42:34
  Speaker 1: character because of how how it all ended, and everybody's
• 42:37
  Speaker 1: very sad about that. And and so yeah, saying getting
• 42:40
  Speaker 1: involved with this film was like, oh my god, again
• 42:43
  Speaker 1: and again the same thing of like, I've got to
• 42:46
  Speaker 1: get this really, really right, because I don't want to
• 42:49
  Speaker 1: offend people, and I don't want people to be upset,
• 42:51
  Speaker 1: and I don't want people to think that it should
• 42:53
  Speaker 1: have been played by someone else Like that, to me
• 42:55
  Speaker 1: was the biggest fear. But just the nature of what
• 42:58
  Speaker 1: the film was was discussing and dissecting and tackling and
• 43:04
  Speaker 1: everything to do with its storyline, female subjugation, trafficking like
• 43:08
  Speaker 1: it was just I couldn't believe that Marvel were making
• 43:11
  Speaker 1: a movie like that and being very openly We were
• 43:15
  Speaker 1: openly discussing all of those in the script amongst our characters,
• 43:20
  Speaker 1: and Scarlett obviously was very much involved in the movie
• 43:23
  Speaker 1: and producer and actor in it, and then we had
• 43:25
  Speaker 1: Kate Shortland, who was just a fantastic director. It just
• 43:27
  Speaker 1: truly felt like one of those projects that wasn't just
• 43:31
  Speaker 1: doing a superhero movie. It was like we are we
• 43:34
  Speaker 1: are discussing a lot, and we are challenging a lot,
• 43:38
  Speaker 1: and it was terrifying stepping into it. But I'm so
• 43:41
  Speaker 1: so glad that I did. Also just the family that
• 43:43
  Speaker 1: I got from it, family of fans, family of all
• 43:47
  Speaker 1: the people at MCU. Did Scarlett share anything with you?
• 43:50
  Speaker 1: I mean, obviously, I mean something that you that you're
• 43:53
  Speaker 1: willing to share. But did she knew that you were
• 43:55
  Speaker 1: going to be stepping into these enormous shoes, obviously not
• 43:59
  Speaker 1: taking over her care, but entering the Marvel universe in
• 44:01
  Speaker 1: a giant way? Did she did? She? Did she guide
• 44:04
  Speaker 1: you in any way? The best thing that I learned
• 44:07
  Speaker 1: from her, and it was never ever. I mean, I'm
• 44:09
  Speaker 1: sure that there were specific things that she told me,
• 44:12
  Speaker 1: but I think the coolest thing about watching a woman
• 44:15
  Speaker 1: that has been in the industry ever since she was
• 44:18
  Speaker 1: a child and also in the MCUM for a decade,
• 44:22
  Speaker 1: was just like her her consistency of needing to have
• 44:30
  Speaker 1: fun and needing to enjoy the whole process, because otherwise
• 44:33
  Speaker 1: I think you could possibly get too bogged down with
• 44:35
  Speaker 1: it and it become too serious and it become too daunting.
• 44:38
  Speaker 1: But I think for me it was just really when
• 44:41
  Speaker 1: I stepped into the role, I was so stressed, and
• 44:43
  Speaker 1: I was so eager to be perfect, and eager to
• 44:46
  Speaker 1: train really, really hard and to learn how to do
• 44:48
  Speaker 1: the in the middle of the air flip role with
• 44:51
  Speaker 1: my dagger out, and I really wanted to do and
• 44:54
  Speaker 1: try and do all of my stunts and respect the
• 44:57
  Speaker 1: craft and respect the stunties and give it my shot.
• 45:00
  Speaker 1: And I just remember her from the very beginning being like,
• 45:03
  Speaker 1: you've got to enjoy it. You've you've got to let
• 45:07
  Speaker 1: the professionals do the things that they are professional for.
• 45:10
  Speaker 1: So like, no, you're not going to be jumping out
• 45:11
  Speaker 1: of a building and be just to enjoy the process.
• 45:15
  Speaker 1: Don't don't don't let it eat you, don't be don't
• 45:18
  Speaker 1: be nervous about about the world that you're stepping into,
• 45:21
  Speaker 1: and know that these these fans will love you like that.
• 45:24
  Speaker 1: That's that's why it's so wonderful. I remember we went
• 45:26
  Speaker 1: to Comic Con and it was so terrified because we'd
• 45:30
  Speaker 1: be walking around with masks on or going around with
• 45:32
  Speaker 1: cars and just the crowds of people that were there,
• 45:36
  Speaker 1: and we'd only just kind of release the information that
• 45:38
  Speaker 1: we were shooting and that it was me, and I
• 45:41
  Speaker 1: remember being so nervous that people weren't going to like
• 45:43
  Speaker 1: it or like me or want me to be the role.
• 45:47
  Speaker 1: And I remember Scarlett and I would just hold hands
• 45:49
  Speaker 1: behind the stage before we went out, and I was
• 45:51
  Speaker 1: just holding her hand and we were watching our trailer
• 45:53
  Speaker 1: go and it was nice to see that she was
• 45:56
  Speaker 1: nervous too. That was like quite cool. And then going
• 46:00
  Speaker 1: out and just this sea of people that I couldn't
• 46:03
  Speaker 1: see the back wall of the warehouse. I could not
• 46:05
  Speaker 1: talk it. Yeah, yeah, yeah, I could not see the
• 46:09
  Speaker 1: back wall. And it was just unbelievable. The instant adoration
• 46:14
  Speaker 1: that all these people had for our movie that hadn't
• 46:16
  Speaker 1: even come out yet and we only showed them a
• 46:18
  Speaker 1: small trailer was like truly. I mean, it's because of
• 46:21
  Speaker 1: that love and that support that makes doing those massive
• 46:24
  Speaker 1: movies I suppose possible. But shooting it was nuts. We
• 46:27
  Speaker 1: shot in so many different countries. And by the way,
• 46:29
  Speaker 1: you you loved being with the stunt I loved it,
• 46:33
  Speaker 1: and they loved you. And you really trained hard. And
• 46:36
  Speaker 1: even though your your stunt double did incredible work for
• 46:40
  Speaker 1: you, you you did, Taylor, Yeah, you believe you did do
• 46:42
  Speaker 1: a couple of things. You did run, you did run
• 46:44
  Speaker 1: down that wall, but I did. I also loved doing
• 46:49
  Speaker 1: It's so much fun and hanging out with stunties is
• 46:51
  Speaker 1: the coolest because, like the English call them stunties. That's fun,
• 46:54
  Speaker 1: that's amazing. We need to upgrade our language here in
• 46:58
  Speaker 1: the stunts better. And you know Flord's I can tell
• 47:02
  Speaker 1: you that I think like you and Jonathan Majors feel
• 47:05
  Speaker 1: like the feature of Marvel. I think these are the
• 47:08
  Speaker 1: two characters that people have really globbed onto the most
• 47:11
  Speaker 1: as we moved from like phase four to phase five,
• 47:13
  Speaker 1: and we're seeing it like grow and everything. I know
• 47:16
  Speaker 1: there's this like especially because I think villains are sort
• 47:21
  Speaker 1: of the new way for Marvel. Like we've had all
• 47:24
  Speaker 1: the iconic heroes and they're very shiny vestments and everything.
• 47:27
  Speaker 1: It's fun to get some of it, like when you
• 47:29
  Speaker 1: did Hawkeye. Like watching you with Haley was so much fun.
• 47:33
  Speaker 1: I was like, this the level of like cool badass
• 47:37
  Speaker 1: girls who feel very grounded. You know. I think there's
• 47:41
  Speaker 1: something about specifically those two characters. Those two characters specifically
• 47:45
  Speaker 1: feel like, oh, hey, yes, we're like women and it's
• 47:48
  Speaker 1: cool that we're here, but that has almost nothing to
• 47:50
  Speaker 1: do with our story. It's we're not here because we're women.
• 47:52
  Speaker 1: We're not here to try to like prove anything. We're
• 47:55
  Speaker 1: just badasses independently of anything else. And that's been really
• 47:58
  Speaker 1: fun to watch. I hope we get more of the
• 48:00
  Speaker 1: two of you. Oh well, that was so fun to do.
• 48:04
  Speaker 1: And I had such a small stint of shooting on
• 48:07
  Speaker 1: that show. I mean they were going on for months
• 48:08
  Speaker 1: and I just popped in and did some la. It
• 48:12
  Speaker 1: was a very funny Florence story. Um. So we she
• 48:15
  Speaker 1: shot Hawkeye um and that sequence at the Rockefeller Center
• 48:20
  Speaker 1: ice rink in Atlanta on a sound stage where they
• 48:24
  Speaker 1: had recreated the giant thing. And she shot that whole
• 48:28
  Speaker 1: sequence on a stage in Atlanta. They made the whole
• 48:31
  Speaker 1: thing to scale. Well not not all of thirty Rock,
• 48:34
  Speaker 1: but no, but the rink they built thirty Rockefeller Center. Yeah,
• 48:40
  Speaker 1: the rink and the walls would get the blue walls,
• 48:42
  Speaker 1: you know, all around. It was enormous. But anyway, so,
• 48:46
  Speaker 1: but she had never been to the real ice rink
• 48:48
  Speaker 1: at thirty Rock. And and when we wrapped was when
• 48:51
  Speaker 1: we wrapped a good person. Yeah, we wrapped a good person.
• 48:55
  Speaker 1: And it came to you, and Florence was like, I
• 48:57
  Speaker 1: really want to go to the ice rink because I
• 49:00
  Speaker 1: into it on the stage talent you we were, we
• 49:06
  Speaker 1: were here with our friends justin carry and before we'd
• 49:09
  Speaker 1: all go back to our corners of the world. We
• 49:12
  Speaker 1: were like, okay, well, let's have a few Christmasy days.
• 49:14
  Speaker 1: Let's go to a Christmas market. Let's go and have
• 49:16
  Speaker 1: a hot chocolate. And Zach was like, I know what
• 49:19
  Speaker 1: we can do. And Zach and Carry booked us slots
• 49:23
  Speaker 1: to go ice skating. Carry did. But it was like
• 49:26
  Speaker 1: an exciting thing that we all did. And we were
• 49:29
  Speaker 1: walking up and I'd kind of forgotten about it, and
• 49:31
  Speaker 1: as we were walking it was so Christmasy and We're
• 49:33
  Speaker 1: all holding hands and it was just like so sweet.
• 49:35
  Speaker 1: And then as we came up to the ice skating rink,
• 49:38
  Speaker 1: I was like, before we put on our ice skates
• 49:41
  Speaker 1: and I go, guys, this is where I shot my
• 49:44
  Speaker 1: action scene with Jerry Runner and everything like everything was
• 49:49
  Speaker 1: to scale. I was like, yeah, so this is where
• 49:51
  Speaker 1: the star came down on the ice and I kicked
• 49:53
  Speaker 1: him in the face. And even the fountain. I was like,
• 49:56
  Speaker 1: I have a picture of me by the fountain. Yeah.
• 49:58
  Speaker 1: She was like looking around the real dirty rock. She's like,
• 50:01
  Speaker 1: I've been here, but in Atlanta. Movie making well with
• 50:17
  Speaker 1: our last few minutes, Um, let's just circle back to
• 50:20
  Speaker 1: our movie A Good Person, Um, which is coming out
• 50:23
  Speaker 1: this Friday in theaters. Um, we hope. I hope, Florence,
• 50:28
  Speaker 1: and I hope that you go and check it out
• 50:30
  Speaker 1: in movie theaters. Oh you'll love it. I really think
• 50:32
  Speaker 1: you will, and I will hopefully affect you in all
• 50:34
  Speaker 1: the ways that you want it to. Um, I do think.
• 50:37
  Speaker 1: My my just sales pitch for seeing in the theater
• 50:40
  Speaker 1: is there is something really magical I believe in sharing
• 50:44
  Speaker 1: what this movie is about in a room full of people. Um.
• 50:48
  Speaker 1: You know, we've been traveling the country. I've been, I've
• 50:50
  Speaker 1: just been on a major tour, and I'm watching it
• 50:53
  Speaker 1: with audiences, and there's just something magical about when it's
• 50:57
  Speaker 1: pin drop silent, of course, emotional times when you hear
• 51:01
  Speaker 1: people sniffling, then when there's humor and everyone has a
• 51:04
  Speaker 1: laugh release And you know, people often say there's not
• 51:10
  Speaker 1: enough movies for grown ups out there. Well, I really
• 51:13
  Speaker 1: tried to make one. And that's my plea for you
• 51:16
  Speaker 1: to please check it out in theaters. And Joell, did
• 51:19
  Speaker 1: you have any more questions as a smart entertainment journalists
• 51:22
  Speaker 1: you wanted to ask us? I do, And again, Florence,
• 51:26
  Speaker 1: correct me if I'm wrong, But this is your first
• 51:28
  Speaker 1: producing credit right, it is okay, So you look with
• 51:33
  Speaker 1: a ton of women directors in your career. You talked
• 51:37
  Speaker 1: throughout this interview about your love and passion of just
• 51:40
  Speaker 1: being on set and learning all of the little jobs.
• 51:43
  Speaker 1: What did you love about producing? What are you excited
• 51:45
  Speaker 1: to do again? And have you considered directing at all?
• 51:48
  Speaker 1: That is such a good question, Joel, you nailed it.
• 51:51
  Speaker 1: They're also ready. Thank you. It's funny I have been
• 51:53
  Speaker 1: dipping my toe in the producing world. I think it's
• 51:58
  Speaker 1: something that I naturally end up doing anyway it on
• 52:00
  Speaker 1: a film, Like I want to be involved in in things,
• 52:04
  Speaker 1: even when obviously I've seen I've only got like the
• 52:07
  Speaker 1: finished script and I can only now kind of help
• 52:10
  Speaker 1: when we're shooting. But I think naturally, of the years,
• 52:12
  Speaker 1: I've always wanted to tweak things that aren't right or
• 52:15
  Speaker 1: are right or could be better, or have a saying
• 52:18
  Speaker 1: in who do we think should be cast for this?
• 52:20
  Speaker 1: Like it's something that I very much, not because I
• 52:23
  Speaker 1: want control, but because I want to be a part
• 52:25
  Speaker 1: of making it perfect. Like I really do want every
• 52:28
  Speaker 1: line to be fantastic for everyone, And I think I
• 52:32
  Speaker 1: have a good handle on dialogue. I think I'm very
• 52:37
  Speaker 1: I love when it makes sense and everything clicks. And
• 52:41
  Speaker 1: I think with this movie, when we were working on
• 52:45
  Speaker 1: it together, we had been discussing some character arcs or
• 52:48
  Speaker 1: something and we were just chatting it going through it,
• 52:52
  Speaker 1: and I was like, Zack, I think I'm a producer
• 52:55
  Speaker 1: on this movie and he was like ah, and I
• 52:57
  Speaker 1: was like, no, I think I am. I'm a producer
• 53:00
  Speaker 1: here on this movie. And then he was like, yeah,
• 53:02
  Speaker 1: of course you can be a producer on the movie,
• 53:04
  Speaker 1: and and so. But also just chatting about like casting,
• 53:07
  Speaker 1: I love. I love figuring out who's going to be
• 53:10
  Speaker 1: right for what and who deserves to have a role
• 53:12
  Speaker 1: like that. I think like one thing that was amazing
• 53:14
  Speaker 1: when sorry interrupt you, but she goes, she goes, you know,
• 53:18
  Speaker 1: Florence's friends with Alex Wolfe, and we had this amazing
• 53:21
  Speaker 1: scene for someone to come in and do and she goes,
• 53:25
  Speaker 1: do you think Alex would do it? And I go,
• 53:27
  Speaker 1: oh my god, Alex Wolfe would be perfect for that scene.
• 53:29
  Speaker 1: And obviously so many fans would love to see you
• 53:31
  Speaker 1: and Alex Wolfe go toe to toe in a scene.
• 53:34
  Speaker 1: And she's like, well, let me let me ask him,
• 53:36
  Speaker 1: and she asked him and Alex. She was like, oh
• 53:38
  Speaker 1: my god, I like Zax work a lot. I love
• 53:40
  Speaker 1: you like I'm in and she hangs up with him.
• 53:42
  Speaker 1: She's like, I'm the best producer. Yeah. I was getting
• 53:47
  Speaker 1: I was getting roles in and every time I would
• 53:50
  Speaker 1: do something, I put the phone down and be like,
• 53:52
  Speaker 1: z I'm a producer. But she was. She was not
• 53:57
  Speaker 1: only was she really helpful in casting, but a lot
• 54:00
  Speaker 1: of script stuff. I mean talk about the cutting of
• 54:02
  Speaker 1: the hair, conversation, cutting of the hair. Yeah, I wanted that.
• 54:06
  Speaker 1: I wanted to do that. I just wanted I think
• 54:10
  Speaker 1: I think when you're that low, there are so many
• 54:13
  Speaker 1: levels of trying to fix yourself or trying to change
• 54:16
  Speaker 1: something because you're kind of doing anything. Then look at
• 54:20
  Speaker 1: what it is that you are and what it is
• 54:21
  Speaker 1: that you actually need to change. And I just wanted
• 54:24
  Speaker 1: her to be like doing everything and anything possible, then
• 54:28
  Speaker 1: actually figure out what's wrong with her and what she
• 54:33
  Speaker 1: actually thinks of herself. And I think for me also
• 54:36
  Speaker 1: chopping the hair now watching it and seeing what people
• 54:38
  Speaker 1: have to say about it, I think getting rid of
• 54:42
  Speaker 1: the vanity is an amazing aspect to Alison, that it's
• 54:45
  Speaker 1: just gone like her her female long hair, her womanly
• 54:50
  Speaker 1: long hair is gone, and she butchered it and she
• 54:54
  Speaker 1: doesn't care, and it's like it's it's at a new
• 54:57
  Speaker 1: level of low. And I think also for an audience
• 54:59
  Speaker 1: to watch someone one in that state of distress for
• 55:02
  Speaker 1: a whole movie, the visual, I suppose it being so
• 55:08
  Speaker 1: pleasing to watch the visual of her vanity being destroyed
• 55:14
  Speaker 1: by herself, and that you're not getting distracted by anything.
• 55:18
  Speaker 1: You're not getting distracted by beauty or if it's esthetically pleasing,
• 55:21
  Speaker 1: or if her hair is in a bun or a
• 55:23
  Speaker 1: ponytail or platt or whatever. It's like you just get
• 55:27
  Speaker 1: to see this person on rock bottom with a raw
• 55:30
  Speaker 1: face and raw hair basically just falling. And then and
• 55:37
  Speaker 1: then when she came to me with that, I was like,
• 55:40
  Speaker 1: that is so brilliant and I love it. Here's the thing.
• 55:44
  Speaker 1: We're shooting in twenty six days, and we shoot completely
• 55:47
  Speaker 1: out of order, as you as you we tell you,
• 55:49
  Speaker 1: you folks who aren't an industry, everything's shot out of order.
• 55:52
  Speaker 1: And I said, Florence, that's brilliant, but logistically really impossible.
• 55:57
  Speaker 1: And she took a beat and she's like, you'll figure
• 56:00
  Speaker 1: it out. So then I go. So then I I
• 56:04
  Speaker 1: go to the team and I'm like, you know, the
• 56:06
  Speaker 1: first ad who's in charge of the schedule, and everyone
• 56:09
  Speaker 1: my amazing simatarier for Maro Furi, and you know when
• 56:12
  Speaker 1: the producer were all huddled up and I'm like, Florence
• 56:14
  Speaker 1: has this great idea. Don't don't freak out. But I
• 56:17
  Speaker 1: kind of like it. But I know it's gonna be hard,
• 56:19
  Speaker 1: but let's so they huddle for like a couple of
• 56:21
  Speaker 1: days and they're like, Zach, Zach, here's all the reasons
• 56:24
  Speaker 1: why that's not going to work. And so I go
• 56:26
  Speaker 1: back to Florence and I'm like, Florence, we tried, but
• 56:29
  Speaker 1: it's just it's brilliant. It's just not going to work
• 56:31
  Speaker 1: on our budget or our scale. She goes, you'll figure
• 56:34
  Speaker 1: it out and um, and so it was her. Well,
• 56:40
  Speaker 1: there's a great it made me think of Um, there's
• 56:42
  Speaker 1: like that awesome Industrial Light and Magic documentary. It's very
• 56:46
  Speaker 1: George las Yes, I really recommend that to anyone who
• 56:49
  Speaker 1: hasn't seen it. But in that documentary they talk about
• 56:53
  Speaker 1: how George when he would come to them and he
• 56:56
  Speaker 1: would say, I want you to do some insane thing,
• 56:58
  Speaker 1: and the animators would be like, that's not possible, and
• 57:02
  Speaker 1: he would just go think about it, right, is that
• 57:05
  Speaker 1: what he said, think on it. Yeah, and he would
• 57:08
  Speaker 1: go just think about it, and they could be and
• 57:10
  Speaker 1: then come back, Oh, George, we did huddle, this is impossible.
• 57:12
  Speaker 1: He goes, all right, just just keep thinking about it.
• 57:15
  Speaker 1: And and anyway, the point is, I want to thank
• 57:17
  Speaker 1: Florence because it did push us to figure it out.
• 57:19
  Speaker 1: And I didn't want to use wigs because wigs. Wigs
• 57:22
  Speaker 1: are pretty bad always the moment, the whole point, she
• 57:24
  Speaker 1: chops her hair and we wanted her to. We wanted
• 57:27
  Speaker 1: to really chop her hair off on camera. And we
• 57:29
  Speaker 1: also didn't want to use wigs because wigs, even with
• 57:32
  Speaker 1: a high budget are not great. Wigs on a low
• 57:35
  Speaker 1: budget are really bad. Yeah, and um, and so when
• 57:38
  Speaker 1: you see her cutting her hair off, it's really Florence
• 57:41
  Speaker 1: cutting her hair off. Um. Also, just so you know,
• 57:44
  Speaker 1: the whole week up to that, everybody was shit scared.
• 57:48
  Speaker 1: Zach was really worried. He was like, sure, like, how
• 57:50
  Speaker 1: short are we going, Let's do practice run, Let's do
• 57:53
  Speaker 1: a practice run. And everybody would be checking in with
• 57:55
  Speaker 1: me and being like, are you okay? You nervous about it,
• 57:57
  Speaker 1: be like no, I'm so excited. And then we started
• 58:00
  Speaker 1: to get a bit confused because I was like completely
• 58:02
  Speaker 1: thrilled about it, and even on the days, I was like, okay,
• 58:05
  Speaker 1: so I just want to go over, like where are
• 58:07
  Speaker 1: we going? Well, the hairstylus, the hair stylus came in
• 58:09
  Speaker 1: and I was like, all right, just sure where she
• 58:11
  Speaker 1: should cut and he was like, she knows, she knows, Like,
• 58:13
  Speaker 1: but just let me because you only you only have
• 58:18
  Speaker 1: you know, take one. And we actually had to cut
• 58:21
  Speaker 1: a port in the wall of this house because we
• 58:24
  Speaker 1: every single moment of this movie is shot on locations.
• 58:28
  Speaker 1: There's no sets because we just didn't have the money
• 58:30
  Speaker 1: for it, and so we took the medicine cabinet off
• 58:34
  Speaker 1: of the wall, and there's was no way to get
• 58:36
  Speaker 1: the shot we wanted. So we went to the homeowner
• 58:38
  Speaker 1: and we were like, can we cut a hole in
• 58:40
  Speaker 1: this wall. We're obviously patch it and make it look
• 58:43
  Speaker 1: brand new, but we in order to get the shot
• 58:44
  Speaker 1: we need, we need to cut what's called a camera
• 58:46
  Speaker 1: port in this wall. And they were like, okay, as
• 58:50
  Speaker 1: long as you promised to restore it. And we were like,
• 58:52
  Speaker 1: oh my god, we can't believe they said yes. So,
• 58:55
  Speaker 1: so in order to get those shots of Florence looking
• 58:58
  Speaker 1: in the mirror like like she does several times in
• 59:01
  Speaker 1: the movie, just a little for those of you filmmaking
• 59:06
  Speaker 1: geeks out there, we had to cut a hole in
• 59:08
  Speaker 1: the wall. But um, it turned out perfectly and it
• 59:11
  Speaker 1: was such a good choice. And I was just just
• 59:13
  Speaker 1: one of many examples of Florence and I'm a producer saying,
• 59:18
  Speaker 1: and you did a great job. I'd love to keep
• 59:21
  Speaker 1: I love it, yeah, and talk about filming. I definitely
• 59:23
  Speaker 1: have told her that she should be a director one
• 59:26
  Speaker 1: day and fold that into hers be a director. I
• 59:30
  Speaker 1: think I need to learn a bit more. I need
• 59:32
  Speaker 1: to soak it up. It's such a it's such a
• 59:37
  Speaker 1: tricky position to have and to lead, and to be
• 59:40
  Speaker 1: a leader on a film set, you really have to
• 59:43
  Speaker 1: be like you have to know your shit, and if
• 59:45
  Speaker 1: you don't, UM, a lot of people can get, you know,
• 59:48
  Speaker 1: twisted up by that. And I think for me, I
• 59:51
  Speaker 1: don't want to UM. I don't want to go in
• 59:54
  Speaker 1: and not know and then and and affect an actor
• 59:56
  Speaker 1: badly like you just it's something that you really should
• 1:00:00
  Speaker 1: go in knowing that you can do, so I think
• 1:00:01
  Speaker 1: I'm just gonna do a bit more learning. Well, if
• 1:00:03
  Speaker 1: you ever want to take the Zach Braff Camera Geek
• 1:00:08
  Speaker 1: Camera Toys workshop, I will give you a one on one.
• 1:00:12
  Speaker 1: Thank you, because I'm obsessed with it all. I hope
• 1:00:17
  Speaker 1: you direct because not only you have a great vision
• 1:00:20
  Speaker 1: and intelligence and clearer knowledge of acting, but you're a
• 1:00:24
  Speaker 1: great leader and I think you'd be a fantastic filmmaker.
• 1:00:28
  Speaker 1: So thank you guys for tuning in to this special
• 1:00:32
  Speaker 1: conversation with Florence Pugh. Our movie A Good Person comes
• 1:00:35
  Speaker 1: out this Friday. It comes out everywhere in the United States, Canada,
• 1:00:41
  Speaker 1: and the United Kingdom on Friday the twenty fourth. Really, so,
• 1:00:48
  Speaker 1: I know of getting a lot of people on social
• 1:00:49
  Speaker 1: media saying when in my country? When in my country?
• 1:00:51
  Speaker 1: I promise you it's calling coming to all Australia. I
• 1:00:55
  Speaker 1: know his end of April, but I can all I
• 1:00:59
  Speaker 1: can say specific now is this weekend in the United Kingdom.
• 1:01:02
  Speaker 1: In the United States. Wow, Um, it's on many screens.
• 1:01:05
  Speaker 1: It's not one of those ones that's on like one screen.
• 1:01:08
  Speaker 1: It's on lots of screens. So please go check it
• 1:01:11
  Speaker 1: out and thank you Joel and Danald for this awesome colors,
• 1:01:13
  Speaker 1: A lovely chat. Of course. It was lovely seeing you
• 1:01:17
  Speaker 1: guys again. I used to see during the pandemic randomly
• 1:01:22
  Speaker 1: every now and then. Remember when you came on and
• 1:01:25
  Speaker 1: made or remember when she came on and her martini.
• 1:01:28
  Speaker 1: That's basically just cold vodka. That's what it's cold vodka.
• 1:01:31
  Speaker 1: It is amazing inspiring times. All right, would you like
• 1:01:36
  Speaker 1: to count us out? Donald's not here? Would you like
• 1:01:38
  Speaker 1: to count you? Count down from five? Just really slowly? No,
• 1:01:42
  Speaker 1: you just like in tempo five six seven eighth, So
• 1:01:45
  Speaker 1: count up from five. I'm glad to know you're such
• 1:01:47
  Speaker 1: a fan of the podcast. I am. But you said
• 1:01:49
  Speaker 1: count down from five? Yeah? Like five six yeah, five
• 1:01:52
  Speaker 1: six seven, five six seven eight made. It's a nurses
• 1:02:00
  Speaker 1: san janitor who loved me here, I said, he's a
• 1:02:04
  Speaker 1: story NETEA should know. So gather around you here, Arb,
• 1:02:10
  Speaker 1: gather around you here are scot free. Watch your winds
• 1:02:14
  Speaker 1: and the mm hmmmm.