00:00How has it been talking to people now that they've seen the movie?
00:03Is everyone emotional about the movie?
00:07I feel like generally, yes. People are quite emotional about it.
00:10Yeah.
00:11When was the first time you guys watched it?
00:13Three months ago, eight months pregnant.
00:16And how did you react?
00:19What did you think of yourself?
00:20I was pretty chill about the whole thing.
00:21I was like, yeah, it's good.
00:25No, I was a complete mess.
00:27I was like slobbering.
00:28And it's very embarrassing when you slobber watching your own like film.
00:33But it was many things being pregnant and also, I guess, getting flooded with like all the memories of what it felt like to make this film all together.
00:42And, you know, you're only one part of a bigger thing.
00:47And to see everybody's incredible like heart that culminated in making this film was, yeah, it was emotional.
00:56I wasn't pregnant when I watched it.
00:58But you are now.
01:00I am now.
01:00Here's an exclusive.
01:02Here's an exclusive.
01:04Congratulations.
01:05I'm so happy.
01:08He's calling it happiness.
01:09It's happiness.
01:10You haven't been here for like three years.
01:18But when we were here three years ago, you were here for Aftersand.
01:21I was, yeah.
01:22So I do feel like it's another one where it's just like a tearjerker, emotional.
01:27But how did you find watching Hamnet, especially versus being in other sad stuff?
01:33Yeah, it was that to me.
01:36I did kind of find my initial response to bawling my eyes out after watching it was one of embarrassment, like watching a film, but it's exactly what Jesse said.
01:44It's like the culmination of many moving parts.
01:47Well, actually, the thing that I remember distinctly was when you messaged us on New Year's Day when you just kind of locked the film.
01:55You're in that space when you finish a film where you're like, God, I hope the filmmaker and our friend likes the film.
02:01And I get a crazy voice note from Chloe on New Year's Day, being like a lot.
02:06And it was such a gorgeous thing for a director to send you because you're constantly in that limbo place where you're like, I was so proud of the process of making it.
02:15But then when you feel like your director seems to be happy.
02:19Yeah, what did you say?
02:20Just it's good.
02:21You guys are awesome.
02:23Just an emoji.
02:24A thumbs up emoji.
02:26A penguin emoji.
02:26Yeah.
02:26No, I started editing the last scene on the 31st.
02:32It was a tough winter because no sun and editing the second half of this film through the holidays on my own.
02:41And then started the final scene.
02:44And then on New Year's Day, I finished the last few shots.
02:49Yeah.
02:49And the catharsis that the character felt is exactly what I needed.
02:54And it was about four months into some heartache.
02:59And I felt the catharsis in that little room in Soho.
03:02So I picked up the phone and left, sobbed, and left a really emotional message to the two of them.
03:10I read a cover story where you were talking about dreams during rehearsal and that being a really big part of the initial, I guess, would it be initial conversations or just when you were kind of talking about what to make?
03:23But can you tell me a little bit about why that, is that new to your process or why was that right for this?
03:32I learned that dreams are the language of the psyche, right?
03:38And it speaks in symbols.
03:40And you get to see different perspectives of different characters within yourself.
03:46And how incredible is that to look at within a scene?
03:49You know, so we have been dreaming together.
03:55This film really came out of our dreams.
03:57I confidently say that.
03:59Do you wake up in the middle of the night and write them down or do you remember them easily?
04:03I do have an old book, but I find I like voice memo them.
04:08It's so annoying when you forget a dream that you think, like, especially one, like, in the middle of the night, you're like, oh, this is a goodie.
04:16I've got to remember this.
04:17And then sure enough, you're like, but they also, I kind of, I like let them be.
04:24You've got to let them be.
04:25You can't hold them too tightly.
04:26And even they were, you know, how we worked with them while we were filming, you've got to, you know, lightly.
04:34You've got to hold them lightly and they show up if they want to show up.
04:38But I definitely use them as a way to process Agnes' subconscious in filming and also to kind of give us inspiration to scenes or they're mercurial in the best way.
04:52And they just are like little offerings if you want them.
04:54I think I was kind of scared of the process initially, if I'm being honest, because I was like, I had no control over it.
05:02I think I'm like a little bit of a control freak.
05:04But then there is something like, as Jesse was saying, they're not, there's nothing, there's not really a rationale to them.
05:10So you get to like, you feel very creative when you're working with them because you get to transpose what's important to you from the dream and what's not.
05:17And oftentimes if you have something that's reoccurring in your dreams or I feel like during the process, like certain dreams synced up between me and you, which was a weird thing that happened.
05:28But it was like...
05:29They did?
05:30Yeah.
05:30Yeah.
05:30How, like you would, the next day you'd be like, I dreamt about...
05:34A cow.
05:34A cow.
05:35We had a dream.
05:36Not the same, but like the cows look different, but I think it was like pretty...
05:39But there's art...
05:40One was a Holstein and one was a...
05:42Yeah, exactly.
05:42It's a bit like fairy tales.
05:44There's archetypes sometimes within dreams that can, that...
05:48I mean, each of them might be something completely different to you, but like in fables and fairy tales, sometimes things that appear...
05:57I don't even think we...
05:58We did do one session together when we had this one dream about a cow.
06:02Yeah.
06:02Or no, we started, I didn't know that you dreamt about a cow.
06:05And then when we were doing the drop-in with Kim, I was like, that is mental because I dreamt about a cow that week.
06:10And then we just started mooing around the set, like...
06:14Yeah, that's what we did.
06:15We said, everybody moo.
06:17Milking, otters.
06:21Chloe, do you feel like after...
06:23Sorry.
06:24Like looking...
06:25We're not mental, I promise you.
06:27Going Nomadland, working in the MCU, and then this movie, like did you take any tips?
06:33Like what did you pull from a production as big as like a Marvel production to then something like this?
06:39Because that's a lot more interior, but still a very like vast and intricate movie.
06:47Well, Eternals prepared me for world building.
06:49And the conviction of that and how to collaborate with department heads to help you build certain part of the world they're in charge of.
06:59I definitely learned a lot through that process to prepare for it, because this is such a world building.
07:04It's not just about what looks good and what's interesting.
07:09It's about what's the origin.
07:11Like what is the root of every decision?
07:16What papers, you know, a cut on the leather.
07:19Everything has stories behind it, and everything has to come from the same mother.
07:25It's an ecosystem.
07:27And I've learned from Eternals how to, earlier on, gathering around the mother.
07:35So then when everyone goes off, the ecosystem feels very coherent.
07:40That is the most beautiful way to describe what I would, like, unintelligently call like an Easter egg.
07:48So I'm going to start using that.
07:49I love Easter eggs.
07:50Same.
07:51I love, I used to go on YouTube and watch the Easter eggs of, you know, Easter eggs.
07:57Jesse doesn't know.
07:58I know what an Easter egg is.
08:00Not a real Easter egg.
08:02I was talking about chocolate Easter eggs.
08:03Yeah, so was I.
08:04They're just too cool to know what Easter egg is.
08:06No, it's an Easter egg.
08:07What is an Easter egg?
08:08It's like a little, like, hidden target in a film.
08:12Yeah.
08:12Oh.
08:13Yeah.
08:13We did the Harry Potter people.
08:14Yeah, you had some of those.
08:16We had some eggs.
08:16What did you guys do for fun on this set?
08:21Like, did it feel, like, especially with, like, the heavy material, what did you guys do at the end of the day?
08:27We danced a lot.
08:29Yeah, they were great.
08:30I love them.
08:31They're going to come out.
08:32Are they?
08:32They will, especially the final one.
08:35Oh, yeah, that was gorgeous.
08:36Oh, my God, yeah.
08:37We do something called dance takes.
08:40So once a week, we would spend a lot of time to our 80s dismay.
08:47We would set up the scene, and then we will, the scene would start, and then music would play.
08:53And it would turn into a big dance take where Katz and crew get together and dance.
08:57And the last one had 300 extra.
08:59Oh, we spent, like, three, four hours to set up the shot.
09:01Yeah, yeah.
09:02Yeah.
09:02And then he's, like, all five, I think 500 in total, including the crew, at the Globe Theater.
09:08Incredible.
09:08What was the song?
09:10We found our love in a hopeless place.
09:14Rihanna.
09:15Yeah.
09:17I mean, period appropriate.
09:18That's an Easter egg.
09:18You were dancing.
09:20That is an Easter egg.
09:21No one was expecting Rihanna to show up in Hamlet, but here.
09:24Rihanna can show up anywhere.
09:25Anywhere, exactly.
09:26Okay, super quick before we're out of time.
09:28One question we're asking everyone, which one do I want to do?
09:30I want to ask you guys, is there a movie or a book, since this is an adaptation, that you guys have pretended to have watched or read?
09:37Pretended?
09:38Pretended.
09:39So many.
09:39What does that mean?
09:40Like, in conversation, or, like, you've always been, like, oh, yeah, I've totally seen Citizen Kane.
09:44I was just about to say that.
09:46I watched it recently because I'd spent so much time saying that I'd seen Citizen Kane.
09:50And now you have?
09:51That's weird that you said that.
09:52Okay.
09:52That's, like, an example of the subconscious alignment, synchronicity.
09:57Citizen Kane for me.
09:58I have so many.
10:00I'm so embarrassed.
10:01I don't even know where to start.
10:03Like, I don't think I've seen Star Wars.
10:07Any of them?
10:08No.
10:09I'm going to tell you, Elle Fanning has not seen, she said that yesterday.
10:12So you're in trouble.
10:13They sound cool.
10:13This is a space space.
10:14You show us.
10:15I'm shocked.
10:16I know, I know.
10:17You should see Citizen Kane.
10:18I have.
10:18Well, whatever.
10:20This is the dynamic.
10:22Yeah.
10:24I didn't give you judgment.
10:26No, as a...
10:27She hasn't even seen Harry Potter.
10:28She...
10:29I have seen Harry Potter.
10:31Yeah.
10:31Well, why is everybody getting off of me?
10:33Because she's cool.
10:34It's early.
10:35It's early.
10:36You have time to see it.
10:37You can watch Star Wars on the plane, huh?
10:38Yeah, exactly.
10:39Okay.
10:39I'll give you the order.
10:40Saving for a child.
10:43Probably like, I've never read The Odyssey.
10:48I feel like most people have read The Odyssey.
10:50Have you read The Odyssey?
10:51Just like some of those epics.
10:53I like to say, oh yeah.
10:54You haven't read The Odyssey?
10:55It permeates enough that you can get it.
10:58Yeah.
10:58I like having them on my shelf, all the epics.
11:02But I haven't read any of them.
11:03Simpsons.
11:03Perfect.
11:06We'll be here all day.
11:07Thank you guys.
11:08Okay children, I think it's time to go.
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