00:20We have what you might call a delicate situation.
00:24Ain't you figuring it out?
00:27What regimen did you say you're from again?
00:33Yeah, that dynamic as far as basically what's said, what's not said, different lives that
00:38have been lived.
00:38There's so much time.
00:40And the hardest thing to create sometimes in films is time that you've seen that.
00:45Can you talk about that?
00:46Because this is also set in a very specific time that none of us were alive to see.
00:51And you sort of have to, you've seen pictures, you've seen that, but we don't have video
00:55of what it was like really back in the Civil War era.
00:58Could you talk about finding those details, finding the movement?
01:01Obviously, you know, the costumes do that, you know, working with the guns does that.
01:06You've worked a lot with horses and continue to.
01:09So that's a big part of it.
01:10But can you talk about sort of that transmutation for you, you modern, to put yourself back then
01:16in that sort of situation?
01:19I think you also, too, it comes down to the writing of the script and the way it's structured.
01:24And I think specifically with Ada, there's a very kind of proper way that she is written
01:28and the way that she speaks.
01:29It's very, very intentional.
01:31And the thing that was what I really, you know, was working and figuring out was like,
01:37OK, she's different from everyone else.
01:40There is just an automatic difference, especially because of her innocence.
01:44But there is also a difference.
01:46She was born in San Francisco.
01:48And she brings her out into the middle of nowhere.
01:51And so she wouldn't speak like that kind of classical Western way.
01:55It's a little bit more proper.
01:56It's a little bit more fancy.
01:57But how do I ground that into this world so it's not so jarring?
02:00So it's not like everybody's doing an accent and I'm talking like, you know, my normal modern
02:03Californian self.
02:05And the dialogue was written in kind of an old fashioned sense.
02:09And so it was kind of articulating that and kind of feeling those words, but then also
02:14throwing in things here and there that maybe have a little bit of a Southern or a little
02:17bit of a Western kind of essence to it to try to ground it in into the world and with
02:22everyone's performances.
02:23So it wasn't like so different.
02:25And I think that also goes with there is a part of her that is similar to these people
02:30and she's slowly like figuring it out.
02:32So I wanted there also to be a verbal tie to the other characters.
02:35And also, I think it is really interesting.
02:38This is a very small world and we're in the woods a little bit and we're at the cabin.
02:42That's pretty much it.
02:44But I think the way that the characters were written and everyone, what they brought to
02:47the characters, it makes the world feel so much more vast than it actually is.
02:51And so it's fun seeing what everybody was going to bring and like on the spot, okay, you're
02:58doing this, I'm going to do this.
02:59And that kind of like back and forth rhythm of the scenes is something that I've always
03:02enjoyed doing as an actor.
03:05What is the armory for?
03:08I rounded up these guns from my men.
03:12Here's yours, Ada.
03:13Your Hawkins St. Louis 54 caliber.
03:17Owned by Major General Edward Horn, U.S. Army officer and Pinkerton operative.
03:24Passed on to his daughter and only can.
03:27We fixed it up for you.
03:28I ain't seen a muzzleloader like this in five years.
03:33I applaud you for trying to kill any sort of animal with it, but it's a good thing you
03:39never used it on a man.
03:41Bullet would have flown by him by a mile and you would have been left helpless reloading
03:45the thing.
03:47I've never been much with a firearm, much to my father's dismay.
03:53I cannot tell you, Ada, that you have put me in an easy situation.
03:59There's trouble with my man about what you've done.
04:03I figured.
04:04Obviously, it's a challenge.
04:05You're very selective.
04:06You're very specific about what you take.
04:09Why this one?
04:11Why at this time for you?
04:12Was it, you know, what was it?
04:14Was it a conflagration of probably a lot of things?
04:16Script is good, but it has to be more than that.
04:19You know, it's time.
04:20I think I also just, there was a sense of adventure about it because it's a genre that
04:26I've never done.
04:26There's elements in this that were first for me.
04:28The violence, the action, the prosthetics, all that stuff is something that I've done
04:33a little moments of, but it's never going to pull out with.
04:36And so that was just really exciting to me.
04:39And then you combined it with, you know, Sean Bean and Ty and Martin and Jack and Odea
04:44and everybody was just so lovely.
04:45And they were all fantastic actors and they really assembled just a great team with a
04:50crew as well.
04:51And so it was like, this seems, this seems really interesting to me.
04:54And it seems like it would be honestly just like really fun to also just explore as an
04:58actor, something that I've never done before.
04:59You know, you were talking about talking with Sean.
05:01There's a, there's one scene when he's showing you the guns and everything like that.
05:05And there's so much going on within the one scene.
05:08He obviously has a bunch of background, but there's so much dynamic.
05:11Can you talk about, you know, when you're in a scene, can you be spontaneous?
05:16Because the stage directions can be certain things within the script, but how much were
05:20you allowed to bring your own sensibilities into some of those scenes like that?
05:26Yeah, I mean, I wouldn't say that there was necessarily like a lot of stage direction.
05:31Like there was just like, okay, this is what's happening.
05:33This is the motivation.
05:33You know, obviously in that specific scene, we're like going through and we're doing something
05:37with purpose.
05:38What was really fun about that one is that I also don't necessarily have a lot of dialogue
05:42in that.
05:42It's mainly just Sean talking.
05:44I love doing the scenes like that because there's so many meanings to what he's actually
05:50saying.
05:50The words he's saying is not what he's necessarily meaning.
05:54And there's that kind of back and forth.
05:56And it's, I like doing that thing where it's that kind of reaction and calculation and figuring
06:03it out and putting the pieces together.
06:05It's the acting without speaking that I find really, really fun to play with.
06:09And that was a lot in that scene.
06:12So I enjoyed that.
06:16Is your private not riding with us this morning, Colonel?
06:19He is sleeping off a headache.
06:23Well, I have medicine for that, Colonel.
06:27I bet you do, Ada.
06:33How much do you know about tracking?
06:36I know the difference between wolf and rabbit tracks.
06:40I figure, since your daddy was pink at him.
06:44My lessons were cut short.
06:46You said you'd been fishing when you returned to the outpost.
06:50Tried to.
06:51I camped on the way to my favorite spot.
06:53I bend in the river and the steelhead get caught in a whirlpool.
06:57I found Miss Emily before I could sink my line.
07:00You heard nothing of our firefight.
07:02I heard your melee from a distance, though I was too scared to move on in the morning.
07:07But you did continue.
07:10Hunger beats fear.
07:12And my last question, and thank you very much, is, you know, because the thing is, like, she's on her
07:17way somewhere.
07:18Let's just put it at the beginning.
07:19She might be on her way somewhere.
07:21And it's funny how the idea of identity, existential crisis of her, you know, what she wants to be, who
07:30she could be, why is she here?
07:31These are all questions you have to answer as the character, but you can't necessarily play them.
07:37You can't play that idea of metaphor.
07:39You've got to play her grounded.
07:40But can you look at her journey?
07:43Can you talk about that sort of thematic, and I'll let you go.
07:46Yeah, I think when we meet Ada, you know, her father has recently passed.
07:50And so, kind of, the person that was like, this is our purpose, this is what we're doing, this is
07:55how this works, that person is gone.
07:57And she's going, this is not practical.
07:58I cannot live here.
08:00Like, this is not working.
08:01I can't do this.
08:03I need to leave.
08:04And, you know, she finds the gold, and there's kind of an opportunity there.
08:08Like, maybe I can go and see, and we see her leave, and the world is vast, and it's open,
08:14and there's so many possibilities.
08:17And then she meets these people, immediately falls into a trap, and she's like, how do I navigate?
08:22How do I change this?
08:24Maybe this is the path that I was meant to follow.
08:27Maybe this is who I should be.
08:29And then we never quite realize, is that legitimately a thing that she's going to do?
08:34Or is she playing them?
08:36Is she so much smarter than what she's letting them see?
08:38And that is just something just so interesting.
08:41And then we finish up the film, and we wrap it up.
08:43And what happens?
08:45You still don't know what exactly she wants.
08:48We don't fully know.
08:49And I think that is such an interesting thing, because it also leaves it up.
08:52There's the motivations and the things that I thought in the moment while we're making the film and doing this.
08:56But I think there's also so much room for the audience to go, I think she's doing this, or I
09:00think that she's doing this.
09:01And I think that makes the character so much more intriguing and fun, because you never know what she's going
09:07to do.
09:08No man can be washed of his sins, and no sin can be left unpunished.
09:17All right, I'm coming in!
09:29All right, I'll see you next time.
Comments