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.
00:08People 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.
00:36And also, I guess, getting flooded with like all the memories of what it felt like to make this film all together.
00:43And, 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.
01:01Here's an exclusive.
01:02You're here today to announce.
01:04Yeah, yeah.
01:05Congratulations.
01:05I'm so happy.
01:08He's calling it Hennepin.
01:09It's Hennepin.
01:10Hennepin.
01:10Hennepin.
01:10You haven't been here for like three years.
01:18But when we were here three years ago, you were here for Aftersack.
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?
01:34Yeah, 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.
01:42Like watching a film, but it's exactly what Jesse said.
01:44It's like the culmination of many moving parts.
01:47But actually the thing that I remember distinctly was when you messaged us on New Year's Day.
01:52Oh.
01:52When 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 like get a crazy voice note from Chloe on New Year's Day.
02:05Being like a lot.
02:06And it was such a gorgeous thing for a director to send you.
02:09Because 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.
02:25Thumbs up emoji.
02:26A penguin emoji.
02:26Yeah.
02:26No, I started editing the last, it was a tough winter because no sun and editing the second half of this film.
02:36Through the holidays on my own.
02:38And then started the final scene.
02:41And then on New Year's Day, I finished the last few shots.
02:46Yeah.
02:47And the catharsis that the character felt is exactly what I needed.
02:52And it was about four months into some heartache.
02:56And I felt the catharsis in that little room in Soho.
02:59Yeah.
03:00So I picked up the phone and left sobbed.
03:03And left a really emotional message to the two of them.
03:07I 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?
03:20But can you tell me a little bit about why that, is that new to your process or why was that right for this?
03:29I learned that dreams are the language of the psyche, right?
03:35And it speaks in symbols.
03:37And you get to see different perspectives of different characters within yourself.
03:43And how incredible is that to look at within a scene?
03:46You know, so we have been dreaming together.
03:52This film really came out of our dreams.
03:54I confidently say that.
03:56Yeah.
03:56Do you wake up in the middle of the night and write them down or do you remember them easily?
04:00I do have a notebook, but I find I, like, voice memo them.
04:06It's so annoying when you forget a dream.
04:08Yeah.
04:08That you think, like, especially one, like, in the middle of the night, you're like, oh, this is a goodie.
04:13I've got to remember this.
04:14And then, sure enough, you're like.
04:16It never happens that way.
04:17But they also, I kind of, I, like, let them be.
04:21You've got to let them be.
04:22You can't hold them too tightly.
04:24And even they were, you know, how we worked with them while we were filming, you've got to, you know, lightly.
04:32You've got to hold them lightly and they show up if they want to show up.
04:34But 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.
04:49And they just are like little offerings if you want them.
04:51I 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.
04:59I think I'm, like, a little bit of a control freak.
05:01But then there is something, like, as Jesse was saying, there's not really a rationale to them.
05:07So 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.
05:14And 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.
05:25But it was like...
05:26They did?
05:27Yeah.
05:27Yeah.
05:27How, like, you would, the next day, you'd be like, I dreamt about...
05:31A cow.
05:31A cow.
05:32We had a dream.
05:33Not the same, like, the cows look different, but I think it was, like, pretty...
05:36But there's...
05:37One was like a Holstein and one was like...
05:39Yeah, exactly.
05:40It's a bit like fairy tales.
05:41There's archetypes sometimes within dreams that can...
05:44That...
05:45I mean, each of them might mean something completely different to you, but, like, in fables and fairy tales, sometimes things that appear...
05:54I don't even think we...
05:55We did do one session together when we had this one dream about a cow.
05:59Yeah.
06:00Or, no, we started...
06:00I didn't know that you dreamt about a cow.
06:02And then when we were doing the drop-in with Cam, I was like, that is mental because I dreamt about a cow that week.
06:07And then we just started mooing around the set, like...
06:11Yeah, that's what it is.
06:12Let everybody moo.
06:14Milking.
06:15Otters.
06:18Chloe, do you feel like after...
06:20Sorry.
06:21Like, looking...
06:22We're not mental, I promise you.
06:24Going Nomadland, working in the MCU, and then this movie, like, did you take any tips?
06:30Like, what did you pull from a production as big as, like, a Marvel production to then something like this?
06:36Because that's a lot more interior, but still a very, like, vast and intricate movie.
06:44Well, Eternals prepared me for world-building.
06:46Mm-hmm.
06:46And the conviction of that, and how to collaborate with department heads to help you build a certain part of the world they're in charge of.
06:56I definitely learned a lot through that process to prepare for it, because this is such a world-building.
07:01It's not just about what looks good and what's interesting.
07:06It's about what's the origin.
07:08Like, what is the root of every decision?
07:13What papers?
07:14You know, a cut on the leather.
07:17Everything has stories behind it, and everything has to come from the same mother.
07:21It's an ecosystem, and I've learned from Eternals how to, earlier on, gathering around the mother.
07:32So then, when everyone goes off, the ecosystem feels very coherent.
07:37Mm-hmm.
07:38Yeah.
07:38That is the most beautiful way to describe what I would, like, unintelligently call it an Easter egg.
07:45So I'm going to start using them.
07:46I love Easter eggs.
07:47Same.
07:48I love, I used to go on YouTube and watch the Easter eggs of, you know.
07:53Easter eggs.
07:54Jessie doesn't know.
07:55I know what an Easter egg is.
07:57Not a real Easter egg.
07:59I was talking about chocolate Easter eggs.
08:00Yeah, so was I.
08:01They're just too cool to know what Easter egg is.
08:03No, it's in an Easter egg.
08:04What is an Easter egg?
08:06It's like a little, like, hidden target in a film.
08:09Yeah.
08:09Oh.
08:10Yeah.
08:10We did a Harry Potter picture.
08:12Yeah, you had some of those.
08:13We had some eggs.
08:13What did you guys do for fun on this set?
08:18Like, did it feel, like, especially with, like, the heavy material, what did you guys do at the end of the day?
08:24We danced a lot.
08:26Yeah.
08:26They were great.
08:27I love them.
08:28They're going to come out.
08:29Are they?
08:29They will.
08:30Especially the final one.
08:32Oh, yeah.
08:32That was gorgeous.
08:33Oh, my God.
08:34Yeah.
08:34We do something called dance takes.
08:37So once a week, we would spend a lot of time to our 80s.
08:42We would set up the scene, and then we will, the scene will start, and then music will play.
08:51And it will turn into a big dance take where Katz and crew get together and dance.
08:54And the last one had 300 extra.
08:56Oh, we spent, like, three, four hours to set up the shot.
08:58Yeah, yeah.
08:59Yeah.
08:59And then he's, like, all five, I think 500 in total, including crew, at the Globe Theater.
09:05Incredible.
09:06What was the song?
09:07We found love in the whole place, place.
09:11Rihanna.
09:12Yeah.
09:14Period appropriate.
09:15That's a easter egg.
09:15You were dancing.
09:17That is an easter egg.
09:18No one was expecting Rihanna to show up in Hamlet, but here.
09:21Rihanna can show up anywhere.
09:22Anywhere, exactly.
09:23Okay, super quick, before we're out of time, one question we're asking everyone, which one do I'm going to do?
09:27I 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?
09:34Pretended?
09:35Pretended.
09:36So many.
09:36What does that mean?
09:37Like, in conversation, or, like, you've always been, like, oh, yeah, I've totally seen Citizen Kane.
09:42I was just about to say that.
09:43I watched it recently because I'd spent so much time saying that I'd seen Citizen Kane.
09:47And now you have.
09:48That's weird that you said that.
09:49Okay.
09:49That's, like, an example of the subconscious alignment synchronicity.
09:54Citizen Kane for me.
09:56I have so many.
09:57I'm so embarrassed.
09:58I don't even know where to start.
10:00Like, I don't think I've seen Star Wars.
10:04Any of them?
10:05No.
10:06I'm going to tell you, Elle Fanning has not seen, she said that yesterday, so you're in trouble.
10:10This is a space space.
10:12You should.
10:12I'm shocked.
10:13I know, I know.
10:14You should see Citizen Kane.
10:15I have.
10:15Well, whatever.
10:16This is the dynamic.
10:19Yeah.
10:21I didn't give you judgment.
10:23No, as a friend.
10:24She hasn't even seen Harry Potter.
10:26I have seen Harry Potter.
10:28Whoa, why is everybody getting off of me?
10:31It's early.
10:32It's early.
10:33You have time to see it.
10:34You can watch Star Wars on the plane, huh?
10:35Yeah, exactly.
10:36I'll give you the order.
10:37I'm saving you for a child.
10:40Probably, like, I'm never ready.
10:43I'll just see.
10:45I feel like most people.
10:46I haven't read The Odyssey.
10:47Have you read The Odyssey?
10:48Just, like, some of those epics.
10:50I like to say, oh, yeah.
10:51You haven't read The Odyssey?
10:52It permeates enough that, like, you can get it.
10:55I think I've looked good.
10:55Yeah.
10:55I like having them on my shelf, all the epics.
10:59But I haven't read any of them.
11:00Simpson.
11:00Perfect.
11:03We'll be here all day.
11:04Thank you, guys.
11:05Okay, children.
11:06I think it's time to go.
11:06We'll see you then.
11:08We'll be here.
11:09We'll be here.
11:09We'll be here.
11:13Bye-bye.
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