00:00It's like you you kind of explore the material in such a different way and
00:06it's so freeing and just by this little twist that it's all of a sudden it's a
00:11woman. It changes the whole dynamic of the, I don't want to say play, of the film.
00:17Should we all move to the English countryside and just change roles?
00:21Do you have like a point at which a certain audience reaction lets you know that the
00:32people, it's a good audience, they're locked in and they get it?
00:35I think about the first laugh in a movie, even if it's not a comedy, because then you're
00:38like okay they're in. It's the only way you really know, because you know people
00:43like you can feel the tension, it's like you can't. But you can feel the release
00:47of tension. And the first laugh in a film is when I'm like okay cool, it works.
00:53Do you know what you think the first laugh could be or would be in this film?
00:56Oof. I mean it could be when you, I mean I don't want to say what it is, but it could
01:01be quite early, it could be quite dark actually.
01:03Oh right. Yeah.
01:04But also you can't hear a smile.
01:06Exactly.
01:07You count those, you count those.
01:09Has anyone seen the play?
01:12I was in the movie.
01:14And he was in it too.
01:20And he was in it.
01:21I was in it too.
01:22Have you seen it?
01:23I've seen it.
01:24In a different version of it.
01:25I saw the Ivor Van Ho, Ruth Wilson one.
01:27I saw that one.
01:28I missed that one.
01:29Yeah, yeah.
01:30I've seen that one, the recording of it.
01:31Oh yeah, no yeah, I went along.
01:33When you decide you're going to be in this movie, do you go back to all of that and look
01:37at it again or do you try to erase any memory you have of the way anyone else did it?
01:42I watched a lot of productions and then I tried to erase them all.
01:47Yeah, I thought it was, I don't know, I couldn't not because I just felt, I had enough time
01:52and I wanted to sort of devour and be in the world and understand different interpretations.
01:57So it was very fun.
02:00I've never had the pleasure of getting to see it on stage.
02:02Sometimes you look at things and you just get a little feeling, I can't even say that
02:07it's an inspiration, it's just you see what's possible, how you can interpret things and
02:13sometimes even one sentence or so you go, ah, that's what, okay, okay.
02:17But then you go back to your own interpretation and you think, do I want to do it that way or
02:21not?
02:22I want to play a version of Hedda because I think she's just so complex and so kind of
02:28dynamic in the way that she maneuvers her way in this world, you know.
02:33And I thought, wow, you don't really see many characters like that.
02:39And I'd certainly never played a character like that before.
02:41I thought, I'm siding with Hedda.
02:43I'd love to see her at Hedda.
02:44You too.
02:45Me too.
02:46What I loved so much about Nia's was like straight away reading, even the first two pages, I
02:54went, oh, this is so different.
02:56It's such a confident her own thing that I thought, oh, this is just not even, don't
03:01even think, you don't even need to worry about thinking about those other productions.
03:04But yeah, to your point of it was super interesting playing Love Borg on stage and then coming into
03:11playing George here just because of the rivalry between the two, how George feels about Love
03:16Borg.
03:17And I thought, God, it's such a, I don't know how you felt in the film playing it, but
03:21it was such a comfortable, enjoyable like position to hold that Love Borg.
03:26Everyone's talking about Love Borg before they turn up.
03:29And then when you do like fully aware of the impact that even just the presence of turning
03:34up has, whereas to be George and the second you walk in going, my world is falling apart
03:40before my eyes.
03:41My biggest fears are being realized before my very eyes.
03:45So it was actually, for a character you feel very sort of panicked, but as an actor it's
03:50really, really fun to like change shoes and just go, oh my God, from this point of view
03:55is really, really fun.
03:56That was the amazing thing because my character is in the play a man and now Eileen is a woman.
04:03Like in the scenes with Tasman, that was something so surprising to me that there was actually
04:09all of a sudden could be the possibility of sexual tension.
04:13Where did you find this house?
04:14Was it hard to find the house?
04:16Oh, you know what's funny?
04:17We had another house and the owners were absolutely insane.
04:20And we were like, let's just find a backup in case they're just like, you know, and then
04:24we found this house and we were like, were we crazy trying to do the other house?
04:28house like it was like it was just so perfect but it was my production designer
04:32Kara Brower she's a great eye and she knew what I wanted and start third film
04:38together so it was just like what was everyone's first splurge for themselves
04:43like when you got your first job I have that with Tessa actually cuz Tessa would
04:46always buy dinner all the time and then also my first movie was not a paycheck
04:53movie it was a little was our film made together she knows this no one made one I lost money
04:59because again the producer right here she was like let's go but when I was able to and I can
05:06just be like boop whatever it's fine you know it's true and you told me you did tell me you said one
05:10day yeah because she also is not a cheap date she is really expensive so like we're gonna we're out
05:18here what I'm gonna get the garden salad you know I remember the first time I took you out though
05:24and what you ordered I was like what we
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