00:00I think the Americans are probably a bit better
00:01at sort of voicing their beefs,
00:03whereas the British are just like, what a prick.
00:06Hello, I'm Kerry Mulligan,
00:07and I'm on set with The Hollywood Reporter.
00:17I've been incredibly lucky to be able to sort of be
00:21in a position to be able to sort of choose work
00:24to some degree.
00:25I remember just a lot of reading scripts
00:27where women would have so little to say.
00:30There has been such incredible roles on TV
00:32that it sort of feels like it's informing film a bit.
00:35You know, the writing, the level just has,
00:37feels like it's just going up and up
00:39in terms of what's being written for women,
00:41and I think that's also bleeding into film.
00:47Particularly on beef, I felt the confidence
00:49to just have ideas, like to be able to be,
00:51I think, you know, when you're first starting out
00:53for the first bit of your career, you're sort of like,
00:55here I am, I'll do whatever you say,
00:56I don't know what I'm doing.
00:57You're a sort of actor for hire,
00:59and I feel like having done it long enough,
01:02you can, if you see an issue or you have an idea,
01:05I feel less nervous to sort of bring things forward
01:07and bring ideas.
01:08And what was amazing about Sonny is that
01:09that's sort of what he wanted,
01:11and what he was kind of excited by.
01:13It was like all of us having a authorship
01:16over details around characters and backstory,
01:19and even script and stuff.
01:20So yeah, that was really fun.
01:22It was a real puzzle in a great way.
01:26I think I wanted to tell a story over four hours
01:29or to have a bit more time with the character,
01:31but a relationship that has that much history
01:34is a thing to figure out.
01:36Because a lot of it is quite kind of embattled
01:38and contentious, it was,
01:39the trick was trying to not make it feel the same.
01:42Like there were ebbs and flows
01:43and like each scene served a purpose,
01:46you know, calculating all of that stuff
01:47with Oscar and Sonny.
01:55It's interesting how on this show,
01:57you switch allegiances quite a lot
01:59and the people that you like,
02:01and you can suddenly find empathy for them.
02:03I think they're all people under pressure.
02:05And I think the thing about the show
02:07is that maybe you sort of watch it and think like,
02:09well, if I was really honest with myself,
02:11there are moments when I'm under pressure
02:13where I might not be,
02:14I wouldn't want a camera following me around maybe.
02:17I think there's more license to be unkind
02:18than there has been in the past.
02:20There's way more platforms to be mean
02:22than they used to be.
02:23There's a kind of permissive culture
02:24about being mean about people
02:26or saying derogatory things.
02:27They may be things that people have always thought
02:29and not said or, you know,
02:31but now like anyone can just be mean
02:33in a public way if they want to.
02:42I think the Americans are probably a bit better
02:44at sort of voicing their beefs,
02:46whereas the British are just like,
02:48what a prick, you know, under your breath.
02:50I live in the countryside
02:51and so there's lots of single lane roads.
02:54And when I like wait for someone and let them go
02:57and they don't acknowledge me,
02:59I talk to them.
03:00I say, oh, well, you're welcome.
03:01You know, and that's,
03:02but that's so British, isn't it?
03:03But I'll never get over that.
03:05Like you just, in England, in the countryside,
03:07you just even just like raise a finger to say thanks.
03:09If you don't do that,
03:10that really would surprise me crazy.
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