00:13So both Kaelin and Gloria are me. People ask, which one are you both? And really the movie
00:21came from these two parts of myself that were at war with each other. The part of me that
00:26is like a very aggressive feminist and wants all women to succeed. And then the part of me
00:32that thought my boyfriend's ex was a bitch. And I was like, how are these two existing? And it was
00:38intense. And it was something I think a lot of people struggle with. And so I basically
00:43poured myself into each of them and made them talk to each other and deal with it and come out
00:47on the other side. And my best friend, Ashley Nicole Black, is also in the movie. She said last
00:52night, she said, you're more like Kaelin now, but I grew up with Gloria because we knew each other
00:59since we were like 22. So I think Gloria is the younger version of me and Kaelin's more the older
01:04version of me, which is also why I put a little bit of an age difference between the characters
01:07because it's really someone looking back being like, you don't have to do this.
01:13Both of these women, the way they're written, are so human. And like every version of every flaw,
01:20insecurity, growth, all of it. And we didn't talk about our scenes really. We really just talked
01:26about life a lot. And I think that that is what transcended into it and made it what it was.
01:30Right? Did we talk about our scenes? Should we lie? Do we talk about our scenes? We ran out,
01:34we ran lines. We did run lines. For like the 12-page scene, yeah.
01:38We ran lines over long dinners, yes. And then we get distracted. We'd be like, wait, back to the,
01:42back to that thing though. Anyways. Yeah. No, it made us, I think it is, yeah, what she said. It
01:48spoke for
01:48itself. It was like very built in. But then you show up on a set and you want to like
01:55capture that
01:56on screen. And hopefully that happens if you're supposed to like be friends or have like a
02:01friendship slash romance with somebody. And it came very naturally and easily and there's no trouble
02:07there. I had worked with Madison Amico Love before and she's an incredible songwriter. And we are all,
02:14like I'm relatively new to this. It was maybe the first song that you guys have written or no?
02:18Oh. Did you write Good Girls Gone Bad? Yeah, I mean, I...
02:23Sorry, sorry, sorry, sorry. Anyways. But what was, what was really like organic and like wholesome
02:29about it was that literally it was like two days before the movie was soundblocked, right? And we
02:34kind of were like, you guys had done voiceover all day and we got together for four hours and
02:38kind of, what's it called? Banged it out? Is that the term? Yeah. Yeah. Yeah, we banged it out.
02:43Yeah. But what was really fun is that by this, like we love the story of this movie so much
02:49and
02:49like we were able to incorporate it in and it, it came really fast to us, right? Yeah. It was
02:54a
02:54really fun, it ultimately was a fun and very late night, but it all, it all, I don't know. The
02:59fact that
03:00we wrote a song together, like it's so, I just like, it makes me so happy. And the fact
03:06that it like captures the plot and character arcs from our movie is kind of insane. It's
03:11perfect. Yeah. It also kind of told us because it was the story of the movie and everybody
03:15who's listened to the song is like, that is the most relatable song. I totally understand
03:19what's going on. And we're like, oh, that means you'll like the movie. Probably you'll
03:23understand what's going on there. Yeah. I also feel like, I feel so proud of this film.
03:27And then I realized that Leighton Meester and Ashley Park wrote a song and duet. And I'm like,
03:32that might be more important. It's the bop of the century. And it came from this movie.
03:41First of all, Chelsea, you know, writes such interesting and like lived in characters. She
03:46comes from, I think when it comes to relationships, a very brutally honest, self-deprecating, like
03:52that definitely happened to you space. And so these, these characters are like so easy to
03:57fall into. And then just the way she directs and makes you feel so safe. It felt like I
04:02could just bring up a part of me to it that I think every man has in them, but the
04:06need
04:06to, to please and want to do the right things, but often falling short of the standard. And
04:11I think that's where the conflict with, with Gloria and Nick and Caitlin arises from is, you
04:15know, him trying to be his best, but not quite hitting it until he, you know, learns his lesson
04:20in the end. Yeah. We're all learning.
04:23Yeah. So, I mean, social media has taken over our lives, but it's, it's feels so cringe to
04:31even say that. And yet I'm sure someone in this room is going to get a report today. That's
04:35like, you spent 12 hours on your phone. And so it's taken over our lives, but I haven't
04:40seen it expressed in film and TV the way it actually feels. So often there's like a little
04:46like, and if that's just not how social media is interacting and haunting our hearts and
04:53minds. And so I tried very hard to create a new way to show social media on screen in
04:59a way that while there is social media in the film, there's also, it's not at all. It
05:05is about like our age old emotions of like jealousy and love and relationships and phones are a
05:10way those messages happen. But like, I, I, I guess you just have to see it, but I tried
05:15to create a visual language to convey how phones are a part of their lives without having like
05:20a split screen.
05:22I will say that's what, that was one of the appeals of the script and just the project
05:25too, is the fact that the way that you so expertly use it as like a device to make the
05:29characters kind of be more active. And I feel like that's usually social media and other,
05:35you know, other things sometimes feels like it kind of hinders or you're, you're trapped
05:39by it a bit. And I really feel like I like forgot that we had phones in this movie. Yeah.
05:45Yeah.
05:45It moves it forward. It moves the story forward as opposed to being like a troll.
05:48We also learned a lot about like, I, we, I didn't know how to block someone. You know,
05:52Ashley Park had never blocked someone before this film. And on my set, she blocked someone.
05:57Yeah.
05:58Guess who?
05:59See if she still follows you.
06:01Stop.
06:01Stop. First day on set. I had to do my kind of final, like the pinnacle, like she's come
06:12into herself standup. That actually is supposed to be funny, which is terrifying. Um, and, uh,
06:24yeah, I mean, I guess, I don't know. We, we collaborated. I came in with some very disturbing
06:30jokes. Um, dark, Leighton Meester writes dark jokes, but she had written her own. I had written
06:36a set for her and then she was like, I've also written a little something. And then just 20 of
06:41the greatest jokes. And it was infuriating. I was like, you're Leighton Meester. You can also do
06:47standup like on a whim. That's crazy. That was, I remember I, I went to go be in the audience
06:52for
06:52that. I don't think I was on this. Yeah. Yeah. But I think that was one of the most fun
06:56things to
06:56watch too and kind of set the tone for how collaborative everybody would be is watching
07:00Chelsea. Like it was literally like Chelsea would go up and they'd be like, okay. And then she'd go
07:06off and deliver flawlessly, like perfect comedic timing. Yeah. But the final joke that she does in
07:12the movie in this, uh, standup set is written by Leighton. Killer. She's got a tight tag. And hearing
07:18Chelsea laugh is very important to me. Um, and, and I will say a really nice thing about doing standup
07:26in
07:26a movie is that people have to laugh and all this is all this is all everybody in the audience
07:30was,
07:31was laughing. And I now live for that feeling. Yeah. She really, she was, we had brought in an
07:37audience so that when we were shooting it, she was actually doing standup for them. And so there
07:42was like little riffs that she was doing. And it was really nice though, because sometimes standup in
07:46movies, they're doing it and you're like, but that's not funny. And she was just making everyone
07:52laugh so hard. It was really cool. Or they were paid to do that. Who knows? Find out, find out.
07:58I'll take it. Oh yeah. I mean, I'm such a lover of rom-coms. I think that we, we've, there's,
08:05I mean, Sandra Bulla, Cameron Diaz, I think it's just, there's so many. And I, um, inspiration from,
08:12I think that, how do I answer this? I feel like what was fun is the, when I first read
08:18the script,
08:18I connected to set, I was like, Oh, this, I understand the story completely. And by the time
08:23we were filming it, I was like, I actually like a lot of stuff in my personal life had changed.
08:27And I was like, I actually completely understand this in a totally different way. And I realized
08:31that I took inspiration from just like things from my own life, from friends' lives. And also just
08:37like kind of, uh, we, we, we talked a lot about like what I think as an actor, like if
08:43you feel
08:43like, Oh, I understand that a particular person in my life watching this scene, like they'll feel
08:49really seen by this and that kind of thing too. So I don't know if I took, I think what
08:53is amazing
08:53about this is Chelsea has, when you see the movie has such a distinct, um, tone and like really knows
09:00how to oscillate between like that fine line of comedy. And also just like, this feels like the
09:05highest stakes situation ever. Um, and the intensity of that and the intensity of feeling
09:11completely alone and completely seen. And I think that, so there wasn't really like a
09:17inspiration in that sense, in a direct sense. Yeah. Although I did send you that scene from
09:23Something's Gotta Give and I sent you this stare scene from Pretty Woman. She, her, her visuals and
09:30her, uh, her inspirations were very helpful. Yeah. Those may be more mine.
09:42She, her, her, her, her, her, her. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
09:47Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
09:47Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
09:47Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
09:47Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.
09:47Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah
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