00:00And that's how, that's how committed I am to like the ambiguity is as an asset. I believe it
00:04wholly. So I honestly, as the writer and director of the movie really don't know what's going on
00:10with Gladys. And I think that's great. Well, can you tell me the two options that you gave her?
00:14Not really. No. When Alex is talking to Gladys about like going to a hospital and she says that
00:22a hospital couldn't help her, to what extent is what we're seeing happen to her magic versus the
00:28idea of like a cancer? That's a great question. I love that question. Yeah.
00:34Do you have an answer? I mean, I think it would be such a, such a shame if I answered
00:39it. You know
00:39what I mean? Because I, first of all, I don't know the answer, truth be told. And I'm glad I
00:44don't,
00:44because I think one of the most compelling things about it is that like, we wonder, you know, I,
00:50you can't really pin her down. You don't know what's real with her. And, you know, she's described
00:54as having two different relationships with, with Alex's family that are totally contradictory.
00:59And, and I think that's so fun, you know, like something isn't right here. Something is,
01:04is untrue. And in that case, I mean, when you were talking with, when you were talking with Amy
01:10Madigan and just kind of like get, having heard, like feed into the perspective of the character,
01:15what were the kinds of discussions that you had? Well, I gave her two options. You know,
01:20I gave her two, two very different options for, for what Gladys might, might, might have going on.
01:25And I told her to pick one and don't ever tell me. And.
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