00:00I wanted to ask you because I know there's a particularly gruesome scene and I remember
00:09reading you say that you were excited to watch that with an audience and you were excited to
00:14watch people sort of squirm. Why? A lot of people don't like to watch themselves on screen. Not
00:21only did you, were you okay with it, but you wanted to watch the reaction. What was that
00:24satisfaction that you were driving from that? Yeah, I mean I've gotten over watching myself
00:29because I have to watch cuts and dailies all the time, so I'm kind of over that. But
00:33yeah, there's a really gruesome scene at the end of the first episode, which I don't really
00:36spoil necessarily, but it's kind of, it's not that bad, but it is kind of gruesome. Your
00:40bar is perhaps. Yeah, my bar is pretty high. But we worked really hard on it and it was
00:45a big deal and we worked really hard to make it work and make it look good.
00:59I don't know, it's just like a gleeful, like, I can't wait. It was just general, like, uncomfortable
01:15and outcry and just, like, people squirming. And I literally am sitting there like the devil.
01:33I just was like, I can't wait. But you know, it's just because you work so hard on something
01:38and you put so, and our special effects makeup people put so much into it and everybody worked
01:44on it. So it's just, you know, I was, we're proud of it. So I wanted to, I wanted to hear
01:48the screams.
01:55I work in a really incredibly collaborative atmosphere on my show that I have never experienced
01:59and been around for a while and I've been in television for a while and it's not like this
02:03usually. So I, I, I'm very, very lucky. Um, it's, there's no hierarchy. There's no ego.
02:09It's like, we literally will take a good idea from the first AD if it's a great idea and it's
02:13in the show. It's like, it's, it's kind of amazing. Um, as far as like the, the, the nudity
02:19and the sex, um, I was lucky in the sense of five years ago, I worked with Jane Campion and
02:25she, for the first time, it was my first nude scene and she gave me, um, a hundred percent
02:29approval without me asking. She said, listen, so I was like, I don't know. I don't know.
02:33And she was like, yeah, everyone should have it. It's so, I don't understand why. It means
02:39I have a hundred percent approval over all the footage and I can literally say you cannot
02:42use that scene.
02:43And it means instead of having to negotiate, which I think is really strange, you can show
02:47a right nipple, but not this.
02:49It's so dear.
02:50You instead go, I'm empowered.
02:52Oh, I'm comfortable with this, but I'm not comfortable with that. It's so dumb.
02:55And then you can shoot the scene.
02:57That's why, that's why we all need to talk.
02:58I'm just doing it on the scene. I'm just doing it on the scene.
03:01Yeah.
03:01I'm putting the cloth on it.
03:02Yeah.
03:03I've had that for, since I, I mean, I've been doing a lot of nudity all, all, all my career
03:09and I've had it, you know, for like 15 years and I've, I've actually never taken anything
03:15out of anything.
03:16Oh, exactly.
03:17So did you then get it on Handmaid's and how is that?
03:20They have it on everything now and they like can't send, send out a cut that has something
03:25in it without me like approving it.
03:26And it's just normal now.
03:28That's fantastic.
03:28Yeah.
03:29Yeah.
03:29But it is, it's a really, really incredibly collaborative atmosphere over there.
03:33And as the sort of one of the only female executive producers as well, obviously there's a weight
03:38there, you know, I'm have a perspective that nobody else will have and that's so respected
03:43and it's so appreciated and that shouldn't be crazy that it's appreciated.
03:48It should be appreciated.
03:48It should be normal.
03:49It's totally normal, but it's nice that it is.
03:57I don't come from film.
03:59I actually come from television and it's, so it's what I know and now I'm sort of doing
04:03more films, but because of what I've done in television, they're letting me do them now
04:07and you know.
04:09It is weird that thing.
04:11Yeah, it's weird.
04:12It's the opposite kind of thing.
04:14It's the opposite.
04:15The snobbery around working in television has gone.
04:18It's gone.
04:19It's sort of, it's flipped now.
04:21But I've only known having like worked on a character for five, six, seven years.
04:26And so for me, I panic with a film because I'm like, oh my God, I only have, I have six
04:31weeks or I have two months and that's it.
04:32Then it's gone.
04:33I never get to work on the character again.
04:34So it has to be right.
04:35It has to be right this one time and that freaks me out.
04:38It's like a beginning, a middle, and an end and you know exactly what's going to happen
04:41and it's a totally sort of different experience for me having come the opposite way.
04:45That's really cool.
04:46I prefer television in a way because I love sitting with a character for nine years or
04:51whatever it is.
04:51Is that how long?
04:52And you said 10 years.
04:53That was nine.
04:53Yeah.
05:05And you said 10 years ago, I'm like, oh my God, I'm like, oh my God, I'm like, oh my God.
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