00:00I did not have an epiphany where I thought,
00:02oh, I'm going to be in the movies.
00:03I just never thought it was possible.
00:05But I always loved movies so much.
00:07And I was I would just watch the same VCRs that we had
00:11like on repeat and would reenact them.
00:13And I think if I say that now, it's like, well, it seems pretty obvious
00:16that you wanted to be an actor and work in movies.
00:18But it just I just didn't know it was a possibility at the time.
00:21So always loved movies.
00:22And yeah, then the hustle began to actually get my foot in the door in Hollywood.
00:30Probably getting Wolf of Wall Street was like the most seismic shift in my career.
00:35That moment, I'll never forget it.
00:37I was in the room with Martin Scorsese, Leonardo DiCaprio,
00:41Ellen Lewis, the casting director.
00:43And they called me back into the room and Marty just opened his arms like this
00:47and went, we'd like to offer you the role.
00:49And then I just my whole life changed.
00:51And I was just like, oh, and he hugged me.
00:53And I was like, oh, my God.
01:00She was so well-respected on set on at Neighbors.
01:21She had such a good work ethic.
01:23She was she's just a lovely girl.
01:31To be quite honest, spending all that time with him really helped me just.
01:41I don't know if I'm allowed to swear in this, but just not give a shit.
01:44And honestly, that's one of the biggest lessons I learned.
01:46For some reason, I care so much what people think, but it just doesn't matter.
01:51And and that really, truly is what I took away from it.
02:00We kind of really focused on what we wanted to do and how could we be the
02:18change we wanted to see in this industry.
02:20I, for one, and everyone at the company wants to see the statistics even out
02:24with how many female filmmakers get the same opportunities.
02:27And it's not that I don't love working with male filmmakers.
02:30I really do.
02:31I just think we need to provide more opportunities for the female filmmakers
02:35right now.
02:35They've had less of a shot in the past.
02:50Ponyo was a very small budget.
02:51So this is yeah, it's great because you have to get more creative and inventive
02:56and think outside the box and solve problems without throwing money at it,
02:59which if you're doing a studio film, I mean, they're hard to do for other
03:03reasons as well.
03:04Making movies is difficult, but very, very fun.
03:07That's why I hate it when anyone's ever like, oh, that movie, I didn't like it.
03:11And I'm like, it's a miracle it got made.
03:13Like, it doesn't matter if you don't like it, but it was a miracle that any film
03:16gets made.
03:26I mean, it was clear to me, both reading the script and talking to Quentin, that
03:44she represented the good parts and the innocence of that time and like what the
03:51best, the best of what 1969 had to offer.
03:54But you kind of experienced through showering.
04:09I really care about her.
04:10I feel like there are certain characters in cinema history that stand the test of
04:17time and get to be reimagined by different people.
04:19And that I feel like is a legacy I'd really like to be a part of.
04:24It took Margot years and years and years to get this made because five years ago
04:35she was pitching it and nobody thought a movie like this would do well.
04:38I wish it came out a couple of years ago, but no, it's better late than never.
04:43And definitely, I think there's more eyes on this sort of conversation is so much
04:49more topical now.
04:50And I think that's a good thing.
04:52I think when people kind of talk about it, it holds other people accountable.
04:57You know, if they're not really making efforts to have equal representation in front
05:02and behind the camera, then things are never going to change.
05:10Damien gave us so much freedom in this movie.
05:13There was a lot of improvising, but there was also a beautiful script written.
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