00:00So, when watching the film, I initially had the impression that Isabella and Edgar were almost like chess pieces in
00:08a game played by Kathy and Heathcliff.
00:10However, as the story unfolds, each of them show in their own way that they too can shape the narrative.
00:18What is your opinion and what role does your character play in this?
00:24Well, I guess there's scenes where they both gain a sense of control back.
00:29One where I start getting a bit more stunned and saying, I don't think you should do this.
00:32And then the scene where you, the brilliant scene where you're writing the letter.
00:37Because they have that push and pull is what's so interesting about the story.
00:40And yeah, I think it's just done very well. That's just good writing from Emerald, I guess.
00:48How closely do you think a film adaptation should follow its source material?
00:53I think it's like Stanley Kubrick doing The Shining or whatever.
00:56It's like the really creative directors know how to sort of completely bring something completely new to it and make
01:03it their own.
01:04And that's why I think it doesn't have to stick.
01:07I think the whole point is that you do something really interesting with it.
01:10Yeah, I feel like I've really learned that like a book is one thing and you can never make a
01:15book.
01:16Like even if you're trying to do the exact thing that's in the book, it's never going to be that
01:22because it's a different thing.
01:24And so I think you sort of just have to surrender to the sort of film experience of it and
01:32just be truthful to the character that you're playing and building.
01:37And was there a moment during filming when the material affected you in a new, unexpected way?
01:47I guess the first read, I guess the whole experience is affecting you in some way. I don't remember an
01:52exact moment during film.
01:53Yeah.
01:54You go into the world from the first time you read that script and you're sort of stuck there for
01:58six months and it's like this tunnel vision for that time, I think.
02:03Yeah.
02:04And what was the greatest challenge during the shooting?
02:09Greatest challenge?
02:12I think I always find like it's like always the stuff that like you don't really, I know, I don't
02:17know, like anticipate or something like you'll come in and do a scene and suddenly you'll be like, oh God,
02:23this is really hard scene and I didn't think it's going to be this hard and I'm not getting it.
02:26And I don't think I've thought about this correctly or, you know, so I probably had like, or did have
02:31like moments where I was like, I don't think I'm doing this right.
02:34You know, that tends to be the stuff that I find quite difficult is like, if you're, if you feel
02:39like you're not really getting it or something on the day.
02:41But, but when you're working with a director like Emerald, like you're so held through that and she really, really
02:48directs you like she really does like meet you there and meet your character and like, and gives you so
02:55many different opportunities.
02:56Like you, you know, you've so much time. She, she gives you so many takes and so much time for
03:02each scene that, um, that, uh, you know, I, I don't know if you, I think the waking ups though
03:09is hard.
03:10You know, when you have to wake up.
03:11Oh yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
03:12I used to play them. I think it's like, who can wake up the most realistic thing, you know?
03:16That's so true.
03:17That game's come. It's, I'm glad I did that.
03:20Yeah. Yeah. Yeah. Yeah. Yeah. So true.
03:22Thank you so much.
03:23Thank you. Thank you so much.
03:25Thank you.
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