- 7 minutes ago
In the Campari Lounge at the Cannes Film Festival, Oscar-nominated German actress Sandra Hüller chats with THR Awards Editor Scott Feinberg and talks about her Tom Cruise collab, her roles in 'The Zone of Interest,' 'Project Hail Mary' and more.
Category
✨
PeopleTranscript
00:08Hi, everyone, and thank you for joining us for a very special episode of the Hollywood
00:12Reporters Awards Chatter Podcast. I'm the host, Scott Feinberg, and this episode, I
00:17will say for our listeners tuning in, is being recorded during the Cannes Film Festival in
00:21front of an audience of festival goers at the Campari Lounge within the Palais, the
00:26beating heart of the festival. I'm so thrilled and grateful that my guest for this episode
00:31is a truly brilliant German actress. She's best known for the films Tony Erdmann, Anatomy
00:37of a Fall, and The Zone of Interest, all three of which happen to have premiered here in Cannes.
00:42It seemed impossible that anyone could have had a better year than her 2023. That was
00:47the year in which Anatomy of a Fall and The Zone of Interest were both released, both nominated
00:52for the Best Picture Oscar, and she herself was nominated for the Best Actress Oscar.
00:57But her 2026 is giving it a pretty good run for its money. Indeed, in February, she was
01:03awarded the Berlin Film Festival's Best Actress Prize for her performance in Rose. March brought
01:08the release of Project Hail Mary, in which she stars opposite Ryan Gosling, and it became
01:12one of the most critically acclaimed and commercially successful films of the year so far. Meanwhile,
01:17she's here in Cannes with Pavel Polakowski's Fatherland, which premiered in competition last
01:22night, and in which she gives a stunning performance as the daughter of the writer Thomas Mann, who
01:27accompanies him on a trip through Germany in 1949, 16 years after he went into exile. And
01:34in October, she will co-star with one Tom Cruise in Alejandro Gonzalez and Yuritu's Digger.
01:40She's been described by Vanity Fair as a generational talent, by the Los Angeles Times as one of the
01:46finest European actors working today, defined by her flinty intelligence, her emotional ferocity,
01:51and her utter fearlessness at taking on characters who make no demands of the viewer's sympathy.
01:57And by none other than the Hollywood Reporter, as an actress of sharp intelligence, raw emotionality,
02:04and what the Germans call Mut zur Hesslichkeit, or the courage to be ugly, a fearless determination
02:11to make, to take on unlikable, unsympathetic characters who couldn't care less what you think
02:17of them. Today, we will get into all of the above and more. And so, without further ado, would
02:22you please join me in welcoming the great Sondra Hewler.
02:47Good afternoon, and thank you for making time in a very busy
02:52stretch for you. Thank you for having me here.
02:54Absolutely. Hello. Can we go back to the very beginning?
02:58For people who may not know, can you share where you were born and raised and what your parents did
03:03for a living?
03:04Okay. So, I was born in a city called Sul. I was raised in Friedrichroda, a small town in eastern
03:13Germany
03:13in the former GDR. My parents were educators, teachers, and that's it.
03:20Yeah. And it seems like there was a, as is often the case in conversations with artists, there was a
03:28teacher
03:28who really, in a way, changed her life. I guess you've talked about, maybe you were 14 or 15. What
03:33happened then?
03:35Yeah, when I was a teenager, I don't know the exact age. My English and German teacher, Frau Bitter, if
03:41she's listening right now,
03:43I still love you. She opened up a drama club in school, and I wasn't a child of many hobbies
03:51or anything.
03:51I mostly read and watched TV. It sounds sad, but I liked it. I really did, to be in other
04:02worlds and to fantasize about people and to watch people.
04:05And she told me that this could be a good place for me to be. And I never stopped since
04:12to watch people, to portray people, to find out about humans, I think.
04:22Yeah.
04:22So, I'm very grateful to her that she encouraged me to go there.
04:26And can you share what, not that long after, first brought you to Berlin?
04:33So, that was after school. I continued to work in theater workshops.
04:39And I think when I was 16, I was in Berlin for the first time with a theater play of
04:47a youth theater that had been developed in a workshop.
04:51And then I decided to apply for drama school there.
04:54And then I was invited to study there, and then I was an actor.
05:00So, this is the Ernst Busch Academy of Dramatic Arts.
05:04You graduated in 2003, and at that time, what did you imagine your career was going to look like?
05:11Did you just sort of assume it was going to be on the stage, or were you always thinking it
05:15would be nice to be a screen actor as well?
05:17No, I never thought about it.
05:19I consider myself being a theater actress still.
05:23It's just a coincidence that I somehow got into film.
05:26And this is not a fishing for complications.
05:28I really don't know how I got there.
05:31So, I also still don't know the rules of filmmaking.
05:35I'm always astonished how everything is working.
05:38And I also look at my colleagues who are so professional with camera angles and preparations and all of that
05:47stuff.
05:47It's a whole different genre than the genre that I have been educated in.
05:52So, we work mostly from the inside.
05:54We don't know so much about what we look like.
05:56And this is sometimes an obstacle in film.
06:00But, yeah, that's it.
06:03So, by the early 2000s, your stage work was getting increasing amounts of acclaim.
06:11And I wonder if you can connect the dots of how that led to your first film opportunity in Requiem.
06:17This is exactly 20 years ago.
06:20You're playing a woman whose violent epileptic seizures sort of lead her Catholic family to suspect her being possessed by
06:29a demon.
06:29And it was very, at first, if we should say, premiered at the Berlin Film Festival where you were awarded
06:35the Best Actress Prize.
06:36So, again, 20 years later, there's a nice full circle thing with Rose this year.
06:41But with that one, how did the opportunity come about?
06:46And how did you acclimate to acting in front of a camera for the first time?
06:51Well, so, since there was some sort of attention that was created through the success in theater work,
07:01my now agent came to me and asked me if I wanted to be a part of her agency.
07:07And then I became part of her agency, and I am since.
07:13And I think soon after, a few months after, she's here, she could answer it.
07:17I forgot.
07:19We got the request of Hans-Christian Schmid to audition for Requiem.
07:25Yes, and then I went there, and then it happened.
07:28So, all the things are just happening.
07:30I don't know how.
07:31But that one, I mean, such a physical, complex performance, you would not guess if you didn't know that this
07:41is somebody's first time in a film.
07:44Was there somebody who was, was it the director, or somebody that was kind of helpful in terms of acclimating
07:51you,
07:51or was it just sort of there?
07:54I feel so lucky that Hans-Christian Schmid and the whole team just trusted me in doing this.
08:00It was a very, relatively long casting process because he really wanted to be sure,
08:05and I was an absolute beginner in film.
08:07So he tried out a lot of stuff.
08:09And the camera work from Bogomir Gatrejov is very free.
08:14So he's very, he's moving around with the camera, adapting to what the actors do.
08:19So that was a kind of a good start, that I didn't have to fit into any frame,
08:24or that they weren't looking for perfection, or they were literally just, they wanted to know what we do.
08:31So now I got no specific help for that.
08:34Just the team was very kind and warm, and the theater work continued during that time.
08:41So for me, honestly, because coming from theater, from Shakespeare, and you know, all these beautiful plays,
08:50I didn't think it was so complicated.
08:52When I read the script for the first time, I had to ask Gabriele if it's, if it's really a
08:58good script,
08:59because I didn't know, I had never read one before.
09:02Well, and then over the, you know, next few years, as you say, working a lot still in theater,
09:08but also increasingly in films, I want to mention one, Amour Fou, in 2014,
09:14because I think that was your first time in a film that premiered here in Cannes,
09:18although I don't think you were in attendance.
09:21No, I wasn't here, no.
09:22But that was also the first time, I think, that you worked with Christian Friedel,
09:26who you would do Zone of Interest with years later.
09:28But the first time you were actually in Cannes, I'm pretty sure, was two years after that,
09:34with Tony Erdmann, which I just want to remind people, if they need a reminder,
09:39or if you haven't seen it, I'm almost jealous, because it's such a mind-blowing film.
09:45But Sandra plays Ines Conradi, a workaholic whose father shows up after an estrangement,
09:55and in some very funny ways nudges her to see the bigger picture of life.
10:01And for me, and I think for a lot of people, this was our introduction to you.
10:07But it's interesting, it was so well-received.
10:10A lot of people kind of expected that it was going to be recognized even more here at the festival
10:16with a prize.
10:17It was recognized eventually with an Oscar nomination and all of that.
10:21But you've been quoted as saying,
10:24quote, I have to say I didn't get that film in the beginning, close quote.
10:27So, was it a straight offer, and how did you wrap your head around it?
10:34No, it wasn't a straight offer.
10:35It was also a very long casting process, and then a very long rehearsal process.
10:40Maren Adder doesn't start filming until she tried almost everything before
10:44and worked out the chemistry between the actors,
10:47because that's what this whole thing is built on.
10:50It really has to be right.
10:52It is a complicated film about the relationship of a father and a daughter,
10:56and then even systems clashing.
10:59So, yeah, I found it very complicated to read and to understand what's going on.
11:03With hindsight, I think it's good that I didn't get it,
11:07so that we could work through it, like, step by step,
11:10because that's kind of Inna's problem, that she doesn't have an overview.
11:15I think it was also the first evidence, which we've seen several times since,
11:22that you can be very funny in a deadpan way, and so I will remind folks,
11:29there's a scene in here, a four-minute scene in which you cover, also you sing well.
11:34This was the first time we found that out, which you cover Whitney Houston's greatest love of all,
11:38but in a amazingly uncomfortable way.
11:43And then also there is a team-building event that turns into something else later in the film.
11:49I guess I wonder, you know, was this film in scenes like that,
11:54you know, pushing you to do, to sort of challenge yourself in different ways,
11:58or, you know, were those things daunting, exciting, just sort of where that film made you go?
12:06Yes, of course, it was exciting, and also it was, I mean, I signed,
12:11so I knew that I would have to do it.
12:17It was great fun to explore all of these different regions of acting,
12:22naked acting, singing acting, you know, also acting with clothes.
12:27I really tried, I tried it all.
12:31Yeah, but it is, I had to answer this question a lot of times after Tony Edmund came out,
12:37how does it feel to be naked in a film?
12:39It changes over the years, but
12:44at that moment, we didn't think about it so much.
12:48It's really strange, because the atmosphere on set was very,
12:52it felt very safe,
12:53and it was just necessary in that moment for the character,
12:58and I think that's the only important thing that we needed to know.
13:01That was great, and film critic at the Los Angeles Times called your work
13:05the finest screen performance I've seen all year.
13:07It brought you, as we said, to Cannes, but also to Telluride,
13:10which I think may have been your first time in America, is that?
13:14I wasn't there, and the late Peter Simoniszek was there.
13:17Yes.
13:17I couldn't go.
13:18Oh, so then it was later in the year that you came to the States,
13:21and were there, you know, I think first time at the Oscars,
13:25just the whole thing.
13:26First time in the U.S.?
13:27First time in the U.S.?
13:28Yeah, it was a big experience.
13:30Yeah.
13:31One might assume that, therefore, the film blew open the doors
13:36and led to all kinds of great opportunities immediately,
13:39but you've said that wasn't really the case.
13:42It took a little while after that, is that?
13:43And maybe also you took a little while to process what had happened to you.
13:48Yeah, I'm very slow with these things.
13:50I always need to take a lot of time to look at everything
13:53and then decide what I want to do next.
13:55Also, I was still in the theater, and I really love it.
13:58So I continue that, and the German theater system
14:02is colliding with a filming system very much
14:05because we play pieces over a long time.
14:09So we always, when we want to work on a film,
14:12we always have to go back to play a show and then go back.
14:15So this is really exhausting.
14:16So I had to find a way how to combine things,
14:19and I didn't want to decide.
14:21And there were some offers,
14:22but I didn't really know what I wanted to do.
14:25And was part of that dilemma deciding
14:28if you wanted to stay working primarily in Europe
14:31or also maybe drive more abroad?
14:34No, that question didn't exist
14:37because there were no offers from the U.S. at that time.
14:42So what did happen fairly soon after that, I guess,
14:46was that you had your first collaboration with Justine Trier,
14:51and this is a film, Sybil,
14:54in which you're playing a filmmaker experiencing a meltdown
14:58who we should say Justine herself described as,
15:02quote, almost like a double of me,
15:04a crazy director, close quote.
15:06You had known her for a while already by that point, right?
15:12And we'll just set it up that this is also, of course,
15:15the filmmaker who would direct Anatomy of a Fall.
15:18But this goes all the way back to 2012 or something with her, right?
15:22We met at Berlinale, yeah.
15:24I was in the jury for the short film competition,
15:27and we awarded her a film,
15:30Movies Filles, Movies Garcons.
15:33Yeah, I can't remember that.
15:35Please forgive me, Justine.
15:37Yeah, so that's when we met,
15:38and we became friends over time.
15:41And then I think the year of Toni Erdmann,
15:44she had a film here as well?
15:45Is that correct?
15:48Victoria?
15:49Victoria?
15:49Yeah, Victoria.
15:50That's a great film.
15:51Who hasn't seen it should definitely watch it.
15:53It's a wonderful, wonderful comedy tragedy
15:56with Virginie Efira, who's here also.
16:01So in the interim between the first and second collaborations
16:07with Justine,
16:08I want to note there's another film there,
16:10I'm Your Man,
16:11which was the German Oscar entry,
16:13and another very darkly funny kind of movie.
16:17You're an employee of a company
16:18that creates lifelike robots,
16:20who introduces a woman to her love interest,
16:23a robot,
16:25and who herself turns out to be a robot.
16:28But a sci-fi rom-com,
16:30again, Germany's Oscar submission,
16:33kind of a fun one, right,
16:34when you look back?
16:35That was so much fun.
16:37It was my first collaboration
16:38as a director with Maria Schrader,
16:40who's a wonderful German colleague and director.
16:45And, yeah,
16:46it was interesting to explore what it...
16:49That was the only film
16:50that I always forgot my lines in.
16:52And I realized so much later,
16:54it's because she's a robot.
16:56She doesn't know why she's saying things.
16:59She's just putting it out.
17:00And then I realized,
17:02that's probably because I'm working this way,
17:04I always need to know why I do things.
17:06So that's why I forgot the lines always.
17:08I'm still so sorry that I held up
17:10all the traffic at the filming, but yeah.
17:12Okay, so this brings us to 2023,
17:15which I referenced in the intro,
17:17just like one of the craziest years
17:19anybody's ever had as an actor or actress.
17:23First of all,
17:24the fact that you have two films in Cannes
17:26at the same time,
17:27Anatomy of a Fall and Zone of Interest.
17:29Anatomy of a Fall wins the first place prize,
17:32the Palm.
17:33Zone of Interest wins the second place,
17:35the Grand Prix.
17:37That's just the beginning.
17:38I guess, first of all,
17:39can you confirm the order in which you made them?
17:43I'll explain why I'm asking in a moment,
17:45but yeah.
17:48I think that we started with Zone of Interest.
17:51It was delayed a little bit because of COVID.
17:54So I think we were supposed to film it in 2020,
17:57and then it was 2021 when I think I'm right.
18:01Then there was Sissy and I in between,
18:05and after that came Anatomy.
18:07It was just three films in a row.
18:08Yeah.
18:09And, okay,
18:10so if we tackle those two one by one,
18:15I will pause, yeah.
18:18Where do you want to put it?
18:20In my hand?
18:21Okay.
18:23Okay.
18:23So,
18:26first one,
18:27Zone of Interest.
18:29Jonathan Glaser's first film in a decade
18:31since Under the Skin,
18:32inspired by Martin Amis' 2014 novel,
18:36the same title.
18:38I think it's,
18:39I found it really interesting to learn
18:40that when you first heard about the project,
18:43you didn't really have all the facts at your disposal.
18:48Is that right?
18:50Yes,
18:51that's right.
18:51So I just received two,
18:53I think two or three pages of a couple fighting
18:56about something,
18:57and I didn't know who they were.
18:59I knew that Christian Friedl was going to be there.
19:01I didn't know the name of the director.
19:02Everything was very in secret.
19:06And I said,
19:07yeah,
19:07I didn't have any capacity at that time to work.
19:10And then the casting director,
19:13Simone Bair,
19:14who isn't with us anymore,
19:15I respect her very much,
19:16I owe her a lot.
19:18So I said,
19:18I'm going to come and see you.
19:19And after I confirmed that I'm going to go,
19:22they told me what it is about
19:24and who's going to be the director.
19:25And then I kind of,
19:27I thought,
19:27okay,
19:28maybe not.
19:29Not because of John,
19:30but because of the topic,
19:31I sort of never really wanted to play
19:34a fascist person.
19:37I don't know.
19:38It's a moral question.
19:39I didn't want to put energy
19:41into a person like this.
19:45And she convinced me to go,
19:47and I had a conversation with Jonathan,
19:49and we just wanted to try and see how it feels
19:52and what he wanted to do with it.
19:54And in the end,
19:56this was the,
19:57it was,
19:58that was the most important thing
19:59that I,
20:00he told me about what he wanted to tell
20:02and how he wanted to tell it.
20:04And then I knew that we could work together.
20:07And just if anybody,
20:08you know,
20:09you say a fascist,
20:10I just want to give context
20:11if anyone hasn't seen it.
20:12This is Hedwig Haas,
20:14the wife of the Nazi commandant,
20:17Rudolf Haas.
20:19And Jonathan said,
20:20there were these months of conversations with you
20:24before you decided you wanted to,
20:27you know,
20:27take the leap with him.
20:29What was going on during those months
20:31in terms of,
20:32from your side of things?
20:33I think you've said you,
20:33you did some research,
20:35not only into the person you might be playing,
20:38but even into your own,
20:40you know,
20:41familial history and things.
20:42Yeah,
20:43you know,
20:43you have to look at where you come from
20:45and what things resonate in your body
20:49without your knowledge.
20:50I was really,
20:52I really wanted to know,
20:53so I asked all my grandparents
20:55about their connections
20:57to the Nazi system.
21:00And I didn't find anything.
21:02Maybe they lied.
21:03I don't know.
21:04I find out maybe when they're gone.
21:08And that was one of the reasons
21:09that it was possible for me,
21:11but it really had to do also with
21:13the way he wanted to tell it
21:15and that we talked a lot about
21:18the inside,
21:20you know,
21:20the death of those people,
21:23actually,
21:23that they don't really feel anything.
21:25Usually when you get offered these roles,
21:27it is still dramatic
21:29and it still has a sort of dramaturgical,
21:31you know,
21:32bow that you have to follow
21:34and then there is a development
21:35and they have feelings
21:36and they have problems.
21:37But he really wanted to show people
21:39who basically have it all
21:41but don't have anything
21:44and don't know how to deal with it
21:45and don't know how to be happy.
21:47I don't,
21:47you know.
21:48So,
21:49I really like this approach.
21:51I found it very appropriate
21:52and that's why we work together.
21:56Was there actually much available
21:59in terms of the historical record
22:00about Hedwig
22:02or was this purely from the script
22:04that you were working?
22:05I mean,
22:06I'd heard there was audio of her
22:08from years after the war
22:11but was that something
22:13that you consulted
22:14that was helpful
22:15or is it one of those things
22:16where,
22:17you know.
22:18There is a lot of material
22:19about her
22:21in written form
22:22and also,
22:23I think,
22:23in videos,
22:24there's a documentary
22:24and then you can hear her voice.
22:27her children
22:29have talked a lot about her
22:30and about the life
22:31in a camp
22:32and there are,
22:33the research of Jonathan
22:35was,
22:36took,
22:37I think,
22:38six years or something.
22:40They were allowed
22:41to go into the archives
22:42of Auschwitz
22:44and to look at the records there,
22:47look at pictures
22:47and everything.
22:48I always feel like
22:49when a director
22:50is doing this work,
22:52I'm not doing it as well
22:54because it's already there.
22:56There were a few key things
22:57that I needed to know
22:58and that was,
22:59one of the things was
23:01if she actually knew
23:02what was going on
23:03in the camp,
23:04if she was lying
23:05when she said
23:05she didn't know
23:08and I found out
23:09that she was in the camp,
23:10there are records
23:11of her visiting
23:12her husband at work
23:15so that's all
23:16I needed to know.
23:18I think
23:19it's very interesting
23:20in numerous examples
23:22of how you
23:23approach
23:24the physicality
23:25of some of these characters
23:26that you've played
23:26and in her case,
23:28can you talk about
23:29the way you arrived
23:30at how she moves
23:32because,
23:33you know,
23:33she's not
23:36especially talkative
23:36or other things
23:37but we learn
23:38about her
23:39through,
23:40I think,
23:41your,
23:42you know,
23:42the way you move
23:43in a way
23:43in the film.
23:46Yeah,
23:46you know,
23:47one of the informations
23:48that I got
23:48is that they both
23:49wanted to be farmers,
23:50that's why this garden
23:51was so big
23:52and they really
23:53loved to work
23:53with earth
23:54and plants
23:55and everything
23:56and they had
23:57this vision
23:57of after
23:58they have won
23:59this war
24:02that they would
24:03go to the countryside
24:04and be farmers
24:05then she had a lot
24:06of children
24:07so I think
24:07and also in a time
24:09where you wouldn't
24:09go to physiotherapy
24:10after birth
24:11so I think
24:12it changes your body
24:13in a way
24:14that is visible
24:16and you can feel it
24:18how,
24:18the way somebody
24:19walks
24:19and the way
24:21somebody is holding
24:22their spine
24:22how strong their core
24:24is,
24:24all of these things
24:25so I was thinking
24:26about that a lot
24:27and it came
24:29sort of automatically
24:30organically
24:32with these thoughts
24:33in mind
24:34The other thing
24:34that I guess
24:35would have affected
24:36the way you move
24:37in that film
24:37is the fact
24:38that it was shot
24:39in such an unusual way
24:41they recreate this house
24:42right,
24:43kind of near the
24:44actual camp
24:46and then
24:48from what I understand
24:49there's just
24:50you didn't even know
24:51where the cameras were
24:53sometimes the cameras
24:54were visible
24:55they were really small
24:56but sometimes
24:57they were not
24:57the whole house
24:59was wired
24:59as was the garden
25:00so that
25:02we would be audible
25:03everywhere we go
25:06there was no
25:07privacy anywhere
25:08the moment we entered
25:09the house
25:10or the garden
25:10we knew we were watched
25:12which was sort of
25:14interesting psychologically
25:15especially as a German
25:17in Poland
25:18in that place
25:19so there were
25:20a lot of things
25:22present
25:23in that moment
25:24that I cannot
25:24really describe
25:26but that were
25:27very important
25:28for the work
25:30and it helped us
25:32to really
25:33work together
25:34as actors
25:35that we didn't
25:36have to
25:37have any technical
25:39changes of camera
25:40you know normally
25:41when the camera
25:41turns around
25:42the other person
25:43is relaxing
25:43and the scene
25:45changes a little bit
25:46we didn't have that
25:46everybody was always
25:48in frame
25:48which kind of
25:50heightened the alertness
25:51of everybody
25:52is it almost
25:53more like theater
25:54it is almost
25:55more like theater
25:56but in theater
25:56you also play
25:57in one direction
25:58also that we
25:59couldn't do
26:00so it was just
26:02everywhere
26:03and you were
26:04constantly confronted
26:06with judgment
26:08I would say
26:09which is a good thing
26:10in that sense
26:11not in general
26:12so that's
26:13the zone of interest
26:14anatomy of a fall
26:16you're playing
26:17somebody named
26:18Sandra as well
26:19who
26:20is a German writer
26:21living in France
26:22accused of killing
26:23her French husband
26:24with whom she'd been
26:25having issues
26:27that emerge
26:27that we learn about
26:29over the course
26:29of her trial
26:31again it had been
26:32four years since
26:33you'd last worked
26:34with Justine
26:35she'd been
26:36she says she'd
26:37I think communicated
26:39to you that she
26:39wanted to come up
26:40with something
26:40for you guys
26:41to do again
26:42she says she wrote
26:43two other things
26:44I don't know
26:44if she shared
26:45the other two
26:45with you
26:46or she was just
26:47unsatisfied
26:48and didn't want
26:48to share them
26:49with you
26:49but apparently
26:50there were two
26:51aborted things
26:52before anatomy
26:53of a fall
26:54so anyway
26:54how did you
26:56finally learn
26:57that this was
26:57what you guys
26:58were going to
26:58reunite for
27:00she sent the script
27:01to me
27:02and she put me
27:03under pressure
27:04and saying
27:05I wrote it for you
27:08and then I read it
27:09and it was
27:10absolutely clear
27:11like from the
27:11first pages on
27:12even
27:13that this is
27:14so special
27:15and I really
27:16wanted to participate
27:17in it
27:20and it's interesting
27:21because she
27:21she has said
27:22quote
27:23when I sent
27:23the script
27:24to her
27:24Arthur
27:25her husband
27:26and co-writer
27:26asked me
27:27if Sondra
27:28refuses
27:28then who
27:29but I had
27:30no second choice
27:31I'm not sure
27:31we would have
27:32gone forward
27:32without her
27:33close quote
27:33which is
27:34quite a compliment
27:35and by the way
27:36Jonathan
27:36she didn't say
27:37that to me
27:39well and it's
27:40interesting
27:40because Jonathan
27:41Glazer
27:41I will just
27:42go back
27:43and also
27:43said
27:45a very similar
27:46thing
27:46that
27:48let's see
27:50I had no
27:50other actor
27:51in mind
27:51for me
27:52she was the
27:52only one
27:52capable
27:53of achieving
27:53it
27:53it got to
27:54the point
27:54where I
27:55couldn't
27:55imagine
27:55the film
27:55without her
27:56close quote
27:56so you
27:57you're holding
27:57these directors
27:58hostage
27:58we wouldn't
27:59even have
27:59these films
28:00without you
28:00so
28:00pretty
28:01I don't know
28:02what's going
28:02on
28:03honestly
28:03I don't know
28:05well with
28:06Anatomy of a Fall
28:06I guess
28:07you know
28:07the
28:10the question
28:11that I know
28:12you've been asked
28:13about ever since
28:14people started
28:14seeing the film
28:15was
28:15whether or not
28:17you yourself
28:17think
28:18she committed
28:19the act
28:20she's accused
28:20of
28:23I would imagine
28:24even if you
28:24don't want to
28:25share that answer
28:25with us
28:26did you
28:26have to
28:28know that
28:28answer yourself
28:29from Justine
28:30or how did
28:31that work
28:33in the beginning
28:34I thought
28:35I needed to
28:36know
28:36and I was
28:37thinking about
28:38her as
28:39an innocent
28:40person
28:40I was very
28:41much defending
28:42her in my
28:42thoughts
28:43and in
28:44the whole
28:46development
28:47of the work
28:48and I think
28:49two days before
28:50we started
28:50filming
28:51I called
28:51Justine
28:52and I thought
28:52what if
28:53she actually
28:54tricks me
28:55into something
28:56so I had
28:56a kind of
28:57a trust issue
28:58two days
28:58before filming
28:59and I asked
29:01her if she
29:01is really
29:02innocent
29:03she's just
29:04playing with
29:04me
29:04and in
29:05the end
29:05she turns
29:05everything
29:06around
29:06which I
29:06would have
29:07been the end
29:08of our friendship
29:09I think
29:09really so
29:10heartbreaking
29:11and she said
29:12I cannot tell
29:13you
29:13I don't know
29:14but I want
29:15you to play her
29:16as if she
29:17was innocent
29:18and that made
29:18it even worse
29:19for me
29:20so I had
29:21two days
29:22to decide
29:23what I'm
29:23going to do
29:24and I realized
29:25it's really
29:26not so important
29:28if she is
29:30a murderer
29:31or not
29:31it's really
29:32about what
29:33other people
29:34think of her
29:35so we really
29:36try to get
29:36into the heads
29:37of the people
29:38and also
29:39her process
29:40of working
29:41is similar
29:42to Maren
29:42Ades
29:42she's collecting
29:43a lot of
29:44material
29:44in order
29:45to find out
29:46later
29:46which way
29:47she wants
29:47to go
29:48so we have
29:48so many
29:49possibilities
29:50of telling
29:50the stories
29:51and I think
29:52the test screenings
29:54were very
29:55interesting
29:55because there
29:56were some
29:57where people
29:57were absolutely
29:58convinced
29:59and it's just
30:00one look
30:01you just have
30:01one little detail
30:02that make people
30:03believe that she's
30:04a violent person
30:05and then there
30:07were some
30:07where it's absolutely
30:08so she really
30:09had to find
30:10the balance
30:10with her
30:11genius editor
30:16to never
30:17let people
30:17know exactly
30:18what was
30:19going on
30:19and in some
30:20ways that
30:20that is done
30:21maybe most
30:23skillfully
30:23in the sequence
30:25late in the
30:26film where
30:27Sandra the
30:28character is
30:29on trial
30:29and they
30:31have the
30:32audio is
30:33revealed that
30:34they had had
30:34this fight
30:35which then
30:36transitions for
30:37the film viewer
30:39to see visual
30:40evidence of
30:41that fight
30:41but goes
30:43back to
30:44the courtroom
30:46before we
30:47can see
30:48what we are
30:49hearing which
30:49is somebody
30:50getting physical
30:51with the other
30:52one and so I
30:52wonder if you
30:53can talk about
30:53she and you
30:54I think have
30:55both said that
30:55that was a
30:57very complicated
30:58one to film
30:59and then
31:00obviously to
31:01for her to
31:02and her
31:02editors to
31:03piece together
31:04afterwards but
31:05what do you
31:05remember about
31:06the execution
31:07of that scene
31:08which by the
31:08way I guess
31:09there was also
31:09secret recording
31:10in Sybil
31:11so that
31:12that was a
31:13relevant thing
31:13in your
31:14earlier film
31:15but anyway
31:16talk about
31:17the fight
31:17sequence if
31:18you would
31:20well I
31:21think Justine
31:22was more
31:22nervous about
31:23the fight
31:23scene than
31:24Samuel and
31:25I were
31:25because she
31:27knew that
31:27the whole
31:28narrative of
31:29the film
31:29depended on
31:32how good
31:32this would
31:33work so
31:34we were
31:34just fighting
31:35and but
31:37or at
31:38least let's
31:39say Sandra
31:40was avoiding
31:41the fight
31:42for a long
31:42time which
31:43is something
31:43that I'm
31:45familiar with
31:45I don't
31:46I don't like
31:46that so I'm
31:47trying to calm
31:48down the other
31:48person as long
31:49as possible
31:50until it
31:50doesn't work
31:51anymore
31:51but so we
31:55had to find
31:56a way to
31:56to tell
31:59not only that
32:00they fight but
32:01also that there
32:01is a connection
32:02between them
32:03that they
32:03actually love
32:04each other
32:04and there is
32:05a certain
32:05tenderness
32:06between them
32:06and a
32:07desperation so
32:08they don't
32:09fight because
32:09what we hate
32:10about fight
32:11scenes of
32:11couples in
32:12films is
32:12that they
32:13really like
32:13it I
32:14don't nobody
32:15likes to
32:16well most
32:17people don't
32:18like to
32:18fight so
32:19we have to
32:20find a way
32:20where it's
32:21inevitable to
32:22really be
32:23mean to
32:24each other
32:26so that's
32:27what we try
32:28to work on
32:29to have a
32:29conversation in
32:30the first place
32:31about something
32:32that is really
32:32important to
32:33them and then
32:34it escalates
32:34later and
32:36it's interesting
32:37because I
32:38think the
32:39film plays
32:39on so many
32:40different levels
32:40there's you
32:42know yeah
32:43it's a trial
32:43of whether or
32:44not she
32:44committed this
32:45this crime
32:46but it's
32:46also it's
32:49also I
32:50guess a
32:51trial about
32:52a how or
32:54a Rorschach
32:54test in a way
32:55about how
32:56people feel
32:56about a
32:57certain type
32:57of woman
32:58yeah or
33:00human being
33:01whatever
33:03whatever their
33:04upbringing is
33:05or their
33:05ideology or
33:06whatever if
33:07people like
33:08women at all
33:08women in a
33:09certain position
33:11women with
33:12a very
33:15diverse sex
33:16life whatever
33:16you can judge
33:18everybody and
33:19it worked a
33:21lot of times
33:22that people
33:22were really
33:23the film
33:24reflected back
33:24on themselves
33:25and they had
33:26to start about
33:26their own
33:27think about
33:28their own
33:28choices
33:28I really
33:29like that
33:30and also
33:31there are
33:31just things
33:31that you
33:32think about
33:33after this
33:33film where
33:34first of all
33:35the fact that
33:35your character
33:36and her
33:38husband are
33:39both named
33:41the names of
33:42the actors
33:42who are playing
33:42them
33:43that's so
33:43mean
33:43what does
33:44that mean
33:44what does
33:46it mean
33:46that they
33:47you know
33:47he's a
33:49Frenchman
33:49you're a
33:50German character
33:51and you're
33:51speaking English
33:52at home
33:53just there are
33:54a lot of
33:54things that
33:55kind of
33:55haunt you
33:56about that
33:56film which
33:57I know
33:57were not a
33:58coincidence
33:58but for
34:00you when
34:02you think
34:03about that
34:03period starting
34:05in Cannes
34:06three years
34:07ago and
34:09really like the
34:10rest of that
34:10year into the
34:11beginning of the
34:11next year I
34:13will just recap
34:14a few things
34:15again all the
34:16acclaim here in
34:17Cannes
34:18first person to
34:19ever receive two
34:20nominations in the
34:20same year for
34:21the best actress
34:22European film
34:23award BAFTA
34:24nominations for
34:24best actress and
34:25best supporting
34:26actress in the
34:26same year a
34:27best actress Oscar
34:28nomination star
34:29of two best
34:30picture Oscar
34:31nominees which
34:32by the way was
34:32the first time
34:33there had ever
34:33been two
34:34non-English
34:34language films
34:35nominated for
34:36best picture in
34:37the same year on
34:38and on and on
34:39also at a time I
34:40think because of
34:41the strikes or
34:42I'm trying to
34:43remember what it
34:43was but there
34:44was something where
34:44actually not
34:45everyone else was
34:46even able to be
34:48at things but
34:49because you were
34:51in two things and
34:52were not in
34:52American productions
34:53you kind of had
34:55to kind of be at
34:56everything I just
34:57wonder was that
34:58when you look back
34:59at that time
35:00period was it fun
35:02scary weird just
35:03what's as you
35:04became really a
35:05much more well
35:07known person in in
35:08the business and
35:09beyond it was
35:11everything you just
35:12said it was
35:14everything all at
35:15once I really have
35:17to thank the people
35:17who put the
35:18schedule together
35:19from narrative in
35:22my German press
35:22agency because it
35:23was really difficult
35:24to to balance the
35:26dates with the two
35:27films so they did
35:30all that I I don't
35:33know you know you
35:33go through these
35:34things it's an
35:35experience you try
35:36to adapt to
35:37everything you try
35:38to see the beauty
35:39in everything you
35:40meet people you
35:42learn a lot about
35:43yourself in those
35:44environments it's a
35:46lot of honor it's a
35:47lot of there was a
35:48lot of love coming
35:49our way also I mean
35:51we were always
35:52there together as a
35:53group I was with
35:54two beautiful teams
35:56and we shared these
35:57moments I was never
35:59really lonely or
36:00anything so it was
36:02really a beautiful
36:02time and I don't
36:04think you had
36:05necessarily a lot of
36:06time to sit and
36:07process all of it
36:08because I believe
36:09right away you were
36:10on to the first of
36:12the films that are
36:13now rolling out this
36:14year with this
36:15crazy year that and
36:16with with Rose
36:17right with we'll
36:20say again this is a
36:22woman passing as a
36:23man and therefore
36:24entitled to a wife
36:27and farm in a
36:28remote 17th century
36:30Protestant farming
36:31community after the
36:3330 years water a
36:35black and white film
36:36I mean this was
36:37something you were
36:37committed to even
36:38before all the
36:39attention right from
36:41that in 2022 yeah
36:42yeah and meanwhile
36:44this is the film
36:45that three years
36:46later you it goes
36:48to Berlin premieres
36:49and you again win
36:50the now they've
36:51changed it it was
36:52best actress now
36:53it's best leading
36:54performance but
36:55point is that's a
36:56big deal and 20
36:57years after you did
36:58it before just with
36:59that film clearly
37:03you you you pick
37:05pick projects wisely
37:08what was it though
37:09with this one that
37:10appealed to you the
37:11most about playing
37:13well first of all I
37:14knew Markus Schleinzer
37:15the director because
37:16we were working
37:17together and Sissy
37:18and I he played the
37:20emperor there and we
37:22we had nice
37:22conversations I knew
37:25his connection to
37:26Hanneke and he told
37:27a lot of funny
37:28stories so he told me
37:30about the scripts and
37:32I read it I found
37:33the you know the
37:35people in the script
37:36are using I don't
37:37know if it's if it's
37:38translating in English
37:39but they use a very
37:41specific form of
37:42language it's very
37:43very poetic so the
37:44whole script is more
37:46of a long poem and
37:48it is something you
37:50know coming from
37:50theater that I'm
37:52definitely drawn to I
37:53want to know how this
37:54works I really it's
37:55really like a kind of
37:56like ice cream I really
37:57want to have it and
37:58and you played male
38:00characters in theater I
38:02played Hamlet yeah and
38:04other people who were
38:05pretending to be male and
38:09yeah so that was also a
38:11challenge and during that
38:13time and yeah I just
38:17wanted to explore how it
38:18how this works and if
38:20they're going to believe
38:21me and what it would feel
38:23like and also I wanted to
38:24know how Markus works so
38:25it's always a mix of
38:28motivations yeah so
38:29that's the first of
38:30these 2026 films now we
38:33want to go to Project
38:34Hail Mary which Ava
38:37Stratt head of this
38:39international task force
38:40behind Project Hail Mary
38:41an effort to save the
38:43world and humanity from
38:44extinction extinction it's
38:47Phil Lord and Chris
38:48Miller you and Ryan
38:49Gosling in front of the
38:50camera I don't think you
38:54had ever done anything on
38:55this size and scale of a
38:57film before not many
38:58people have so was that
39:01something that you were
39:04again like kind of itching
39:06to do it sounded like
39:08years ago you were you
39:10were you were almost
39:11wanting to not you were
39:12almost wanting to avoid
39:13things on a on a huge
39:15scale so did was there an
39:17evolution in your thinking
39:18about that well there is
39:22something like scale and
39:23then there's something also
39:24like quality on that scale so
39:28it didn't necessarily want to
39:30do something really big
39:31because it can be so bad and
39:35I'm not good at a lot of
39:37things so I have to find
39:39something that I can
39:40actually do without feeling
39:43terrible all the time so
39:45this was an opportunity
39:47because I love the films of
39:49Chris and Miller of Lord and
39:51Miller and I of course adore
39:53Ryan Gosling what can you say
39:54so it was kind of you know
39:58I just had to do it and also
40:00you know it doesn't I think
40:03about this a lot too if it's
40:05really smart to avoid things
40:06all the time sometimes you just
40:09have to try them I can still
40:10decide later if I want to be a
40:12part of it for longer you know
40:14but you know it's like the I like
40:17it when the spaces sort of expand
40:19and I can have more choices so
40:22yeah and I guess it it's
40:24obviously still a huge endeavor
40:29this this kind of a movie but it
40:32sounds like they did as much to
40:33keep it feeling not like that for
40:38the actors as possible a lot of
40:39practical sets and effects and
40:42puppets and all kinds of things
40:43right so maybe did that make a
40:46difference or do you find like are
40:48you acting differently do you
40:49approach acting differently when
40:50you're doing you know a rose
40:54versus a project Hail Mary no it's
40:57not a different approach but it
40:59depends more on who I'm playing
41:03with and what they bring so when
41:06you play with someone like Ryan
41:07Gosling you don't try to compete I
41:09can never I can never be as fast as
41:12him as inventive or whatever it
41:14could just I can just be there and
41:16try to find an end to the scene and
41:19then everything else will happen on
41:23its own probably and since it's not
41:27a so-called main character or
41:29something there is not there's not a
41:31bow or some sort of development that
41:34I have to think about or but I think
41:37that the preparation is always the
41:39same it's just a bit more fear
41:41management and that one well you said
41:44I saw another thing where you you
41:46had said quote or that you learn that
41:49you quote learned that not everything
41:50always has to be motivated from the
41:52inside sometimes you can simply
41:54assert something perform as long as
41:56the director finds it credible it's
41:57credible it doesn't always have to
41:59align with my own sense of truth
42:01close quote that's kind of an
42:02interesting discovery yes it is for me
42:07because you can be trapped in your own
42:10it can be a moral code or it can be an
42:13acting code and or you think
42:15everything really has to like develop in
42:18your body and in your system and
42:19sometimes it's just not necessary it's
42:22an economic question I prefer to find
42:27things inside of me and then like find
42:32out what it does to my partner and what
42:34they do to me I don't like to prepare a
42:36whole character no matter what anybody
42:39is saying and then you know being away
42:41from the set being away from the people
42:43away from my partner and then I'm coming
42:46there and fulfill my own vision that's
42:49not what I think makes work like
42:54fulfilling and I like to collaborate and
42:58so I don't do so much of a preparation
43:01most of the time I really just try to put
43:05things away more than I add them and in
43:08this case these are you are working with a
43:10lot of people who enjoy improvisation is
43:13that something you're you're comfortable with you
43:16enjoy or I love to watch it I can't do it I
43:20love watching it and that's kind of the
43:22beauty of the experience with Project
43:24and Mary that I could watch a lot of it it's
43:28a lot of fun but I'm really bad at
43:31especially in another language I mean even
43:36in Tony Edmund it was really difficult but
43:39also there I had Peter Simoniszek was
43:40like an endless source of invention so I
43:45maybe it's because I'm an older sister
43:47or something I'm better in finding the
43:50fence for everybody I don't know well one
43:54last Project Hail Mary question I assume
43:59most people watch here or listening are
44:01are caught up but without I won't get into
44:04the exact specifics but she does a kind of
44:07a not nice thing in this film too but at
44:10the same time where it might be you might
44:15easily you know it would be easy to hate
44:18or to really dislike a character for doing
44:21something like that and yet one of the
44:23things that many people have remarked upon
44:25is and I think it's a testament to your
44:27performance is that you don't feel that
44:30way towards her and in fact one of the
44:32scenes maybe the the best scene in the
44:34film there's there's a lot of contenders
44:37but I think a scene that makes that the
44:40case helps to make that the case that we
44:42don't feel that way towards your your
44:44character is when she performs a bit of
44:48karaoke because again again yeah you're
44:52you're singing has been every 10 years
44:54you get called upon to but in this case
44:56covering covering mr. Harry Styles it's
44:59not just I mean again as with covering
45:02Whitney Houston it's not just the
45:05obviously just the the song or anything
45:07but there's such nuance the way that you
45:11your physicality during the performance
45:13and all of that and I really do think
45:16that that goes a long way towards the
45:18way we feel towards Ava and so I just
45:21wonder if you can break down how that
45:24scene came about how you approached it
45:26and if you also feel that it it was an
45:28important one
45:31that that's a really interesting topic to
45:34me because I felt that I'm playing her as
45:38the softest girl you've ever seen but
45:42she has to make tough decisions so I
45:44really try to be you know not a cliche
45:48of a leading a world leading woman you
45:52know that we all see that you have to be
45:53harder than the others and tougher and
45:55then you have you look a certain way
45:57whatever there's there are so many wrong
46:00things going on thinking about these
46:02women so that was the first thing and I
46:05think she really believes that the the
46:08world is worth saving and that we can
46:10actually do it if we make an effort it's
46:14a coincidence that it's just about him
46:17then it was supposed to be different so
46:20she just has to adjust so adding that and
46:24it was added the the karaoke scene it was
46:27not in the script it was scripted that
46:29people were having a goodbye party and
46:32they were having karaoke but that wasn't
46:34in it which I found very reasonable
46:37because why would she and then Ryan
46:40Gosling came up with the idea and he
46:42wanted her to be in it and then we had to
46:45find a song and then I found the song and
46:47two days later I was singing it and I
46:51understand that people like her more
46:54through this so it's kind of a calculated
46:56thing which coming from the background
46:59I come from I kind of reject I don't want
47:02this to be this way but on the other
47:05hand I feel that it helps and honestly it
47:10was just such fun to sing it because I
47:15love the song so much so it is kind of a
47:17twisted thing if people like her because
47:20of that because of course I would have
47:22wished them to like her just like that but
47:25yeah I'm happy this scene is in there
47:27totally okay so last night in this very
47:29building we had the premiere world
47:32premiere of fatherland it was very well
47:37received here it's such a powerful film
47:38from a great filmmaker Paul Polkowski his
47:42first since 2018 I believe and he's coming
47:47off of you know just home run after home run
47:50Cold War in 2018 Eda five years before
47:54that he's just one of the greats and I
47:57wonder did you guys know each other
48:00before this one or just how did this one
48:02come about we met before he told me
48:07about the project there was just a
48:10general meeting in Berlin and we liked
48:13each other from the beginning so for me
48:15it was out of question of course knowing
48:17his work that I wanted to be a part of
48:20whatever he wanted to do and then he
48:22found this great story and then he found
48:24Hans Sischler August Diel so these were
48:26ingredients that I yeah that I really
48:29loved and I wanted to be a part of and
48:31so I wonder you know other people are
48:35making connections between Eda and then
48:38Cold War and this one true it's true
48:41that Eda and Cold War are fictional
48:43characters and these are these are very
48:46real people people that lived and made a
48:48big impact but other than that there
48:51seem to be some thematic connections I
48:54wonder if that was something you guys
48:55ever discussed no we didn't discuss the
48:59the earlier films I think it would be
49:02really distracting yeah probably I mean the
49:05other thing though is that they share in
49:06common there even if they're showing
49:09harsh things they're shot so beautifully by
49:13this great cinematographer Lukasz Stahl all
49:17in black and white in each case and I
49:21wonder just watching how he and Pavel work
49:24most of the time it's you and your your
49:28scene partner Hans Sischler as Thomas
49:31Mann you're the daughter I imagine it's a
49:34pretty fairly intimate you know set when
49:39you guys are doing these what what's it
49:42like watching Pavel and Lukasz work
49:44together well sometimes it wasn't
49:46intimate sometimes when we were with a
49:50lot of people it was not at all yes it
49:54is intimate and watching these both is
49:56pretty intimate because it's mostly about
49:59them finding the frame where we can find
50:02our spot in in the right lighting and
50:05then we can try to find freedom in
50:07there so it was a very interesting way
50:10of working that I hadn't experienced
50:12before a little bit in Rosa because
50:14black-and-white filming is very
50:15technical and I didn't know before
50:17nobody told me and then we kind of
50:22adjusted to each other's way of working
50:24was a I think it lasted for the over the
50:27course of the filming process and the
50:32curiosity towards each other and how the
50:35other person is approaching this was
50:39bigger than any trouble we had so it was
50:41really to me a really great experience I
50:44think there is not a film that I think
50:47I've learned the most of any of every
50:50film and in this one really yeah and so
50:54if you had to pinpoint the the things
50:57that you would apply going forward from
50:58what you learned on this what are the
51:00biggest takeaways well first of all it's
51:04I wasn't when we start about the
51:07beginning like Requiem you know where
51:09the camera was following us and we had
51:12absolute freedom and the light was built
51:14after we rehearsed it was completely
51:16different here and I learned that it's
51:19possible to survive in in this
51:21environment too it's actually really
51:25fruchtbar it it is inspiring in fact to
51:29find this right place and it's really
51:32just sometimes really millimeters of
51:35space that you have to act what you to
51:38play what you want to play this is one
51:42thing and then I I always felt that the
51:44director or that's what I was used to
51:46the director is coming towards you and has
51:49having conversation with Pavel it's
51:51different you will always be close to
51:53the camera and close to a question
51:55close to to the to the monitor and I
51:58think it's maybe a good thing to
52:00sometimes just go there and join them
52:02that is something that I didn't know
52:05before was kind of a restricted area
52:07kind of a no-go thing to go to the
52:09monitor and to watch them work but I
52:12think this is something that interests me
52:14more and more to be a part of that
52:16process too and just this kind of a
52:18character we should say she she's very
52:21smart she has a lot of thoughts and
52:23emotions but it seems that she is used
52:25to burying them until she kind of
52:28explodes there are these examples of you
52:31know she encounters her ex-husband and
52:33there's a little bit of a explosion there
52:37she has a personal loss and then explodes
52:42at the people outside of her hotel room
52:44and then really also at some point has it
52:48out with her father who they have this
52:50very complex relationship what's it like
52:52you know is there a character that
52:53you've played before that's quite like
52:55that or was this a new just the the
52:59repression leading to the explosion I'm
53:03familiar with that I think I mean most
53:09people don't I mean there are always
53:11restrictions we go through the world and
53:14there are rules and there are personal
53:16choices we made and then they sometimes
53:18force us to just endure stuff until we
53:22can't take it anymore I personally I like
53:27to walk away but if I can stand
53:30something but for her in that particular
53:34case of Erika Mann and Thomas Mann I think
53:38it's really admirable what they did to
53:40just because it is actually very painful
53:44what they do it's not fun to it's it's
53:46called a road movie and of some sort but
53:49it's actually just hard work that they do in
53:53the midst of the of post-war and the death
53:55of the brother and all of these things but to
54:00just make that decision to just go through
54:02it is something that I mean what what
54:04would have been the other choice that is
54:08something so so big that it that I admire
54:12so much so I just wanted to give her this
54:15capacity of yeah of just enduring the
54:20things that you had to endure because
54:21there are some things that we just have
54:23to work on inside ourselves that we
54:26cannot talk to anybody about and it's
54:31that also makes it a film from another
54:33time because we don't we don't do that
54:35anymore we share almost everything with
54:38everybody and those are things that she
54:41just had to work out herself well it's
54:44it's really a provocative thought
54:47provoking film and it's up for
54:50acquisition for the US though so a lot of
54:53people are rushing to see it as soon as
54:55they can get in which it's hard it's a
54:57hard ticket but it's really worth worth
54:59the pursuit and I will close with one last
55:02question you've been so great and thank
55:04you for all of your time thank you thank
55:06you I am curious if you can tease a
55:09little bit of what's coming next for you
55:11including yet another 2026 film which I
55:16mentioned features you and Tom Cruise for
55:18the great Alejandro González-Narritu that's
55:21called Digger and I know you know there's
55:23probably limits on what you can share about
55:25that but anything about that or other
55:27things we can look forward to seeing you
55:28in in the near future I am nearly
55:33bursting and wanting to talk about this
55:35movie I can tell it but I can't I
55:39legally can't I can't and but it's it
55:43was I can't say that I saw it in a
55:46version that's maybe not the final
55:48version and that it impresses me beyond
55:51anything I've ever seen and that's all I
55:54can say it's really it's I think it's
55:57going to be a remarkable film awesome
55:59well congrats on another incredible
56:01year and thank you again so much for
56:03squeezing this in really appreciate it
56:04thank you
56:05thank you
56:05thank you
56:27Thank you
56:27thank you
56:28thank you
56:28You
Comments