00:08Those globe scenes were shot at the very end so we could fit those actors throughout the
00:14whole movie. There was 350 background performers they're surrounding Joe and
00:20Jessie in those globe scenes and they are emoting with them they're crying it
00:23was really astonishing to see them working. We got off to a really good
00:27start because we went and we looked at the real globe and for Chloe it was a
00:31really about scale like she felt that it was too big and that we ours needed to
00:35have an intimacy so we brought ours in so it's 75% so you feel that relationship
00:40with the stage and the audience just it's a little more enveloping. We create
00:44everything around Jessie so we built around her reacting to what she's seen
00:48how much the play evolves and that's the scene with probably work the longest
00:53because you really needed to get it right. I love Jessie close-up at the end
00:59all the world is reflecting her eyes and there's so many emotions and they just
01:03change. We knew the moment that just extends the hand it was so important from
01:10so we could work backwards from that. When I first read the script I saw Jessie as
01:17this essentially a heart muscle she was this like vibrant beating heart and so I
01:24wanted to make sure that we kind of give that impression of her in the
01:27costumes and so there's this like raw vibrant reds and oranges and maroons and
01:33it's all kind of twisting and turning so when we see her kind of through Will's
01:37eyes she is so alive and so just undeniably present that was really why I
01:43wanted it to be like so so so vibrant and red but also Chloe and I and Jessie
01:48talked about blood and sort of the essence of womanhood and humanity it
01:52kind of like in a physical sense and so the redness also when she starts she is
01:57this vibrant fresh blood color and then as she goes through the story when she's
02:02a mother the blood kind of rusts around the edges so there's more oranges more
02:06bricks and so on and then as she's going through the death of Hamnet the blood
02:10dries up it's she's like brown and gray and kind of prune purplish color like a
02:15like a scab and then when we see her at the very very end at the globe we see the
02:20blood kind of starting to course through her veins again so that was the color
02:23journey for her. The color in the production design is really sparing I mean
02:28it's very deliberately sparing you know I knew what Malgo she was going to be
02:31doing with the costumes but really for me I was looking at you know the heavy
02:34beams of the Tudor architecture and the way that they're so graphic like the
02:39dark tones with the whitewash that kind of structural linear quality sits in
02:44opposition to the rambling forest like in the vivid green so I was sort of playing
02:48more with that knowing that I would have a woman in a red dress walking you know
02:53amongst all of that so it was all kind of quite finely calibrated so that we're
02:57sort of supporting each other the kids dressing up as witches that was a super
03:12last-minute addition Jessie didn't know it was happening so when she opens her
03:17eyes she truly actually is seeing it for the first time so when she says that's
03:21amazing that like that was Jessie you know and it created this meta layer
03:26because I was running around looking for things to put on them just as they would
03:31be running around the house you know so I was in Fiona's department looking for
03:35the baskets and try to you know fitting them on my head and so that was a good
03:39little comedy bit for me at that time it was very much about family and really I
03:56wanted with the production design to bring the audience close to that family to
04:01have them relatable and for it to not be a period piece that you admire from a
04:07distance and you think oh isn't that a beautiful you know set I wanted it to be
04:11unmade beds eggshells and laundry by the door I kept looking honestly around my
04:16house and looking at my family and thinking how can I bring my daily life
04:20into this Elizabethan family what do you wish to do Hamlet I should be one of the
04:27players with the sword sword yes and I should clash it against the sword of the other player
04:35I remember like we did this shot and then I look at my focus puller and he's crying and
04:40then he's asking me how many more takes are we going to shoot it because it was very heavy
04:45and really painful to be in it we knew it's a film and of course Hamlet is not dying for
04:52real
04:53but on the other hand when we were in this house together with the crew it was so real and
04:58Jesse
04:58and Paul it was so painful and then emotions were so real that it was really hard not to really
05:04feel those emotions will you be brave yes will you be brave yes yes I'll be brave I'll be brave
05:13I think the
05:14most important thing was performance I think that's what kind of led us to any any times like
05:19okay this is it we watched the footage whenever we found the performance that felt the most
05:23emotional then that's where we went that was our principle to create you know a space atmosphere and
05:33give our cast freedom to be open to what is happening situations which are unexpected I think
05:40the great example was just before shooting Paul asked me if it's possible that I will give them a
05:46freedom in terms of the camera for example the forest which were in the place where they meet
05:50I was thinking about different tools and still was wondering maybe this maybe this maybe crane
05:54maybe gimbal realize that no I just need to be very simple have a small handheld camera and be ready
06:01to move quickly be ready to react quickly basically be open to everything what is happening follow
06:06the emotions follow them that was the most important thing what are you looking at you why
06:15there were moments where I wish I could have found a new word for hair and makeup just to kind
06:20of
06:20describe what it was that we were going to be doing it was important that we expressed that freckles were
06:26makeup and sweat was makeup looking tired was makeup and looking happy could be embellished with makeup there
06:34was many occasions where you would meet Jessie and she would just be coming back from training a hawk and
06:40she would have studied all the scratches on her arms the cast were so deeply deeply involved in telling
06:47this story there was iron gall ink that we would use on Will's fingers every day to show that he'd
06:54been
06:54writing through the night and then Malgoge I know would incorporate the iron gall ink into the costumes when
07:02we see him first he is wearing a jerkin that is made out of the scratched leather and I was
07:07imagining his
07:07father who constantly pokes at him I was imagining him using a little piece that he's wearing which is
07:13worn as jewelry but it was actually a toothpick and the toothpick was a real thing it was a real
07:17period
07:17thing but then gradually as well as getting we see him kind of growing more and more frustrated with
07:22himself he starts getting these like slashes and little wounds on his garments which it is an Elizabethan
07:30detail it's called pinking the way we used it for him it was kind of to show his emotional journey
07:36and
07:36they start as those little scratches then grow and then when he's actually finally in London they are
07:41just gashes his doublet is holes into his soul and then finally when we see him as the ghost he's
07:47covered in a cloak that is made of mud or of clay rather and the clay is cracked and so
07:52we see him
07:53like cracking and the pieces falling off and then he finally gets to wash it off and and we see
07:58him
07:58break down and cried the thing that I felt was you really unique about working with Chloe was that
08:08she's incredibly intuitive and incredibly open I think that was the thing that I found really really
08:17gratifying and I'm so I just loved so much on this project was that Chloe was always open and so
08:24I was
08:25invited to the table I was invited to be a participant in the discovery of what this film
08:29could be Chloe is just extraordinary she is like one of a kind I might cry talking about her she
08:36is
08:36incredible didn't know this would happen with Chloe there are no mistakes there are a lot of happy accidents
08:45but there are no mistakes and she creates that village of courage and taking risks and Chloe is a great
08:52storyteller but she also makes everybody in that family feel like they too have a great story to
08:59share and I have never quite seen anything like this before I think one of the things that was
09:04really striking that I think is something that a good director can do and I think people don't
09:08necessarily attribute this is that they pick the right people there was a real sense of collaboration
09:14not just in a professional way but in a real spirit and a real heart and soul about wanting to
09:21create
09:21this really authentic story it was an extremely supportive group of people that all came together
09:29just wanting to do their best and wanting to tell the story in a really authentic but emotionally driven
09:36way atmosphere full of respect love and friendship and understanding that was very special it feels like
09:44we were Chloe's mushroom that we like grew around her and just kind of you know just kind of communicated
09:50I'm so proud of the movie because of it it feels so organic how it came together and it's because
09:56of Chloe
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