00:26Mi manca la voglia di capire se fare qualcosa o se non fare assolutamente niente.
00:34Once we started making the film, it just kind of interwove and started growing into these other things.
00:39You know, she's also, on top of being emotionally isolated, she's also physically isolated.
00:45She's been moved to this place where she doesn't know anybody, she doesn't have a community.
00:49And when you have children, one of the most important things is having a community.
00:54And when you have children, your relationship changes.
01:00You know, it seems like the most romantic thing that you could possibly do, and it is in so many ways.
01:06But your dynamic is immediately different.
01:09You know, you're running a very important company together and making really hard decisions together that you don't always agree on.
01:17And it's a hard thing to grapple with.
01:20You know, I was... I... it's actually really fun to get to do a character like this, because you do... you get to just kind of like...
01:48go absolutely wild and not think about repercussions or reactions or how you look or, you know, it's really, really freeing.
02:01And the reality is once I kind of bring up the emotion and they call cut, that it's not my reality.
02:09So I get to kind of just like walk away with like, whew, like a high almost.
02:14Chris, it's a bad moment.
02:15You're right.
02:16I'm good.
02:17There was, you know, Rob... I was the mother. I had... my son was like, I think, two at the time and Rob had a brand new baby.
02:33And so there were so many experiences that you can bring to the movie, not literally, but there's just things that you can build on and add into the story that with our shared experience was really helpful.
02:52But in terms of chemistry, Rob and I didn't know each other and Lynn had us do interpretive dance lessons together before the movie and learn a choreographed dance, which was very embarrassing.
03:05But in retrospect, you know, sex scenes are choreographed or choreography and kind of fighting is like a choreography.
03:13So I think us having that, like, practice with each other was actually really helpful.
03:18Grace.
03:20I get it.
03:21Shh, shh, shh, shh, shh.
03:23I'm a little weird.
03:24Grace.
03:25What are you?
03:26Stop, stop, stop, stop.
03:34She really could just set up a camera and then just be like, okay, you're bored in the house, like, you know, go.
03:42Which was amazing because a lot of directors sometimes they want to micromanage and, like, make them feel like they're really a part of the process and make sure everybody on set knows that they're a part of the process.
03:54And she's the opposite.
03:55She's so good at building the energy and she's so good at what she does that she doesn't really feel like she has to prove it to anybody.
04:05She's very kind of hands off and observes what she's seeing.
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