00:18well it's funny because when we talked about you are not my mother i was i was looking back at
00:22that
00:22and you were talking about the aspect is that there's always darkness but you have to see
00:27within the light and see different aspects of light even in the darkness and what's interesting
00:33is that both the character david but also uh the character the main character that lily plays
00:38they both have these ideas of what is right what is raw what is dark what is light could you
00:45talk
00:45about that yeah i think you know a lot something that me and the cast talked about a lot when
00:50we
00:50prep was i guess you know the idea of ai and like you know because sarah is obviously not a
00:58real
00:58person and david's kind of projecting onto her what he wants or what he desires and we were talking a
01:05lot about like how ai is kind of a mirror of ourselves but in like having a mirror of yourself
01:12you then are confronted with like the darker parts of yourself that get kind of shown back to you
01:18through that mirror so like you know sarah is taking in all this kind of the good and the bad
01:23of humanity and when the bad is kind of thrown back out at the characters in the film they're like
01:30that what this is not us this is not what we do and it's like well no this is what
01:34she's learned it
01:35from you she hasn't like this is an innate in her this is built from what she's taking in from
01:40everybody around her and so that was like the kind of really interesting thing to talk to the cast
01:44about just like how to kind of have lily kind of reflect those things back um to david and
01:51what that looked like could you talk about the idea because obviously uh the story came from you
01:57guys but with james and all that how because obviously working within the bloom house model
02:01you know you have to think different things it's it's like an independent film in certain ways
02:05but it also encourages creative you know solutions could you sort of talk about building the seeds
02:12as you say i think you know bloom house have a model that the um you know the our shooting
02:17schedule was quite tight and we had a lot of big set pieces and kind of um yeah big moments
02:24even
02:24like kind of some of the sex scenes in the movie even though that's not technically a set piece with
02:28stunts it takes a lot of care and time and and you really need to think about it so yeah
02:33i mean it
02:34was it was amazing though because i i know you know me from when i did you were not my
02:39mother which
02:39this was obviously like a huge step up from that in terms of the crew and what we could build
02:46and
02:46like the sets that we could build and stuff like that so like the apartment for example was an
02:50amazing build by uh the production designer susie cullen and that was just like unbelievable to work
02:56within because we got to build that up from scratch and like have it be built for how we wanted
03:00scenes
03:01to play out and like have pockets for cameras to be and all of that sort of thing um so
03:07you know that
03:07was all like amazing so you know when you come from a diy background like i have i think like
03:13that's you know that was like i was so happy to be there but the devil is in the details
03:19i mean the
03:20glowing eyes different things different subtle things could you talk about finding those truths
03:25and the details both in her in lily but also in david because they have to be sort of weird
03:32mirror
03:32reflections of each other because they all are just adjusting to their own tragedy and trauma in
03:38certain ways if you will yeah i think you know um i think lily's performance was unbelievably detail
03:47oriented like she put so much work in in prep and we did so much work together like going through
03:53page
03:54by page of the script like tiny details in the script and you know lily asked me hundreds of questions
03:59like well what the what what kind of movement is she making here how does she say this like what
04:04because it wasn't like a the way you could approach a normal character it was very much like there's all
04:09these minute details and you know when you see her performance there's so many small kind of things
04:15that she does where she mirrors somebody just ever so slightly like david or someone she's speaking to
04:21and it's so it's just so brilliant she was kind of always watching and just being aware of what
04:27the person she was playing off was doing and bringing that into her performance and it was
04:32like exceptional to watch it was just like amazing as this character like with megan and stuff like
04:37that there's a certain motion there's a certain approach but because it's soulmate and not that
04:43it's a different thing it's a different kind of movement it's different kind of seduction
04:48in certain ways but a different kind of violence too yeah i think we had a as i said me
04:54and lily did a lot
04:55of prep before you know just talking on zoom and all of that and then when she arrived we kind
05:01of
05:01got deep into working on like um with a movement coach we got a movement coach for her to help
05:07her
05:08because it was important to me that it felt like you know because a lot of questions i was asked
05:12initially when we were in the early stages it was like well do you is this going to be kind
05:16of face
05:16replaced cgi or how are you going to do sarah as a but i was like no it has to
05:21be a real actor and
05:22that's the only way this is going to work i think and then you know getting lily then it was
05:27like
05:27a dream come true because she was so dedicated she was so smart and she working with the movement
05:33coach we kind of broke it into like three sarah like phases so lily then kind of could tack that
05:42on like all these scenes were in phase one then then she has a turning point and then this is
05:47all
05:47phase two and then she has another turning point and that's phase three and we shared that with all
05:51the hod's and like you know the hair and makeup and stunts so they could kind of all get that
05:55idea as well and yeah we worked with a great movement coach who helped her kind of because
06:02there's all these tiny things like there's one scene where like you know blink and you miss it
06:06she's like folding t-shirts on an ironing board and like we were like we spent like you know an
06:12hour
06:12in a room being like okay how is she gonna fold these t-shirts in the way that like um
06:17you know
06:17feels like robotic but it feels kind of the thing is yeah you're so right like i think she has
06:23to feel
06:24sarah always had to feel human to be seductive and to kind of lure david into that false sense of
06:30security that you know this could be a real person so she kind of can't be too robotic we had
06:37a kind of
06:37code word on set where like when we were doing takes um i would say to lily okay give me
06:43a real
06:43girl one and we would do one where she just played it completely like a real um a real girl
06:50no robot
06:51kind of affectations at all and that really helped because then we could just have one in the bank that
06:56for if we felt like in a scene it needed to feel more human for a beat like we could
07:02do that and that
07:02was kind of how we approached it
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