00:25I want to lead in because Gloria was she was so
00:29conscious and so aware and she had so many references so we had a month leading up to
00:35and she had movie references and you know just just things so she did have these anchor points
00:41so go ahead glow now as you nail like yeah well you just dine horn
00:49you oh stop um it's yeah i think it's like this funny combination of which i'm still like trying
00:55to get the hang of but like of you go in with a lot i like to be very prepped
01:01so like for example
01:02with the cinematographer like we talked a ton about how like the color treatment of the film
01:06because he was very he did a very involved like film emulation technique so we talked about how
01:10that would reflect the different moods throughout the film and how they like they're all sort of
01:14going on these journeys um and we and i tried to be really prepared probably in a different way
01:21from altman because i i just watched thieves like us and it feels like the camera is so improvisational
01:25at times and he's just very like following so he'll like just follow performance with with his
01:31camera it feels like um though i don't know the inner workings but yeah so we like we went in
01:36and we had a like i had shot listed the whole film and had drawn up very mixed quality storyboards
01:43and then we went in with that plan but then also i like to before every scene we would do
01:49probably a
01:51very slow blocking rehearsal where basically i i tried to get these guys to tell me like
01:57oh i want you to hear in here but like what feel like does that the idea behind this is
02:01this and
02:02does that make sense so then they would you know so it's because i try like working with such
02:07professionals pardon my language like such talented people like it's it's just it's the joy of like as
02:15you make more and more films and people come on board and they bring their levels of talent and
02:19expertise is they are just constantly offering you things so i i try to go in with a plan and
02:25really
02:25know what i want but then also constantly we're being surprised by just like these great ideas of
02:30people around you
02:52what do we do now
03:02you know there's so much going on in her and there's so much going on that she's experienced
03:07that we haven't seen uh versus say something that that how bethany was interpreting could you talk
03:12about your interpretation and finding those sort of those points those points of light or points of
03:19darkness if you will within her yeah for sure honestly i think the number one thing that i
03:24liked a lot is the script was honestly really well written so like that helped a lot because
03:31even just sometimes if the writing isn't good you have to really like bring it out of yourself but if
03:38the writing is good and you're just saying the words it kind of just like naturally happens for me
03:43where i just i'm able to feel the feels and and get what's supposed to be off the page which
03:52is
03:52really nice and and like bethany was saying we had a whole essentially a whole month before shooting
03:57which really helped so me and bethany and even cody we would meet up in a coffee shop and go
04:03over
04:03our lines together and we would discuss our feelings in the scene and what we think should happen
04:09um and and even i think on the day like i remember i think we were shooting one of our
04:16intimate scenes
04:17me and bethany and during shooting bethany asked me like what are you feeling like right now as like
04:23the character i tell her and she's like oh i didn't even like i didn't think that so it was
04:28really nice
04:28being able to collaborate with each other and just discuss how we were feeling in the moment and stuff
04:33um and like honestly in the intimacy i think what i told bethany was like as kiana i was just
04:39feeling
04:39love whether or not that was what was intended on the page or not that was what i was kind
04:44of like
04:45making my character like feel in that moment with bethany's character and bethany's like oh okay yeah
04:50like i like she liked that idea and hadn't been like thinking of it in that way yet um but
04:57honestly
04:58just because like this is my first feature film and being able to work with such talented people
05:04once again it's just very very helpful it was an extremely welcoming set and everyone was super fun
05:10and light and i think that ultimately also just helped me a lot be able to bring what kiana is
05:17supposed to be off the page i often do check-ins because i want to anchor in truth like the
05:23truth of
05:23what am i actually feeling right now even if it's not what's written on the page what am i actually
05:26feeling and how do we anchor that back in so we get one truthful moment in each scene um and
05:33yeah
05:33we spend a lot of time doing script breakdown together but not so that we end up going through
05:38the script you know beat by beat plot by plot like we know exactly what each other's going through
05:42but actually more so we can go in opposition so we have opposite objectives and you know we know that
05:48my character is going to go from here to here and kiana's is going to go from here to here
05:52but then we're actually nuanced and and you know having more fun and intricacy
05:56throughout and playful dance throughout i think you kind of talked about that dance piece um and
06:02yeah tandia you were so fun to play with it was
06:21okay uh here this is good enough
06:40there's a thin line between love and hate you know there's between brutality and intimacy and
06:45you know there's within the genre i mean this is a thriller but there's also violence there's love
06:51there's so many different emotions can you talk about finding that balance finding that tonality
06:56not just in the script but on the day because things have to be played at a certain pitch
07:01or brought down brought up i i'm sure you guys have stuff to say on this too i it was
07:05like i mean
07:06it's hard our film in some ways is kind of eluding categorization um like it's playing
07:13fantasia it's a genre film um but in a lot of ways it's a little i don't know it's it's
07:18not
07:18a traditional thriller um i think like working i remember talking to cody a lot because he was
07:24really wanting cody who plays matt in the film um because i find a lot of the time thrillers i
07:32don't
07:32want to dunk on a genre but like you know they cut the like actors come in and they're told
07:39to
07:39like bring these really big sort of emotions right away i i don't i'm not trying to dunk at all
07:46but
07:46it's like you know it's like it's a heightened genre and sometimes so it was fun working with
07:49him in particular because there's so much like male violence in this film at least like you know
07:54at points that we talked a lot about nuance and why he for example would be feeling those things and
08:00and this applies to everybody but i think i it was just what i really wanted to go in
08:05in terms of tone was finding ways to subvert the sort of the way the violence presents itself even
08:11though it's still there and and then like and so like what you know he's not just an angry person
08:17like there is like there are layers to like to to the the male characters the male violence just like
08:22there are layers to the to the women and and i think that there's also like every character sort
08:26of has a secret at different points so i i kind of went in taking huge inspiration from altman just
08:31going like how do we subvert the expectations of this genre and then also and so totally it was a
08:36balance and there were things that emerged from that like for example i thought like the screening
08:40so far there has been a lot of like levity like like response to the levity of the film which
08:46i'm
08:46glad because i when we were cutting it i was like i want this to exist that brings the pressure
08:50off
08:50that takes the pressure off so much so you know well and i think it's just like i i think
08:54the best
08:55dramas and the best thrillers like they have those moments that like cut the tension because that like
09:00because there is tension and then when there's levity it's almost like it's it's almost more so i don't
09:04know so it was yeah it was totally a balance of just like there is this like tension but also
09:09how
09:09can we like hide it so it's there but we don't see it immediately and then how can we kind
09:14of like
09:14dance around it and
09:22so
09:31so
09:31so
09:31so
09:31so
09:31so
09:46because it's exciting for the characters involved too yeah yeah totally and and why would
09:51and alex is smart you know and and why would she fall for something if it wasn't immediate like a
09:56little bit you know hidden in plain sight basically bethany or did you want to did you
10:02want to add to that bethany always likes to add to everything oh there you go okay really to put
10:07you know candles on the cake because gloria is incredible but um gloria really was clear about
10:12the calibration um how hot each scene was going to be or giving us options you know so we could
10:18kind
10:18of increase the heat and decrease the heat but um a lot of times you know as an actor i
10:22think we
10:22like to go to 11 just to show that we can and glow was really clear about okay now let's
10:27try it at a
10:28three and i think what happens when you recalibrate it to a three is the audience gets to feel a
10:33lot of
10:33the feelings that the character didn't fully express i think there's this term of like sometimes your
10:38performance ends up on your shirt um when you give all the big tears and did it right and then
10:43the
10:43audience can just sort of sit back and watch but when you recalibrate to a three the audience is
10:47really pulled in and then they kind of complete the feelings and and glow also left this space
10:53the like okay so now what space because so often in in the genre or other genres i'd say action
11:00you get
11:00bang bang bang bang bang bang and then you're cut into the next scene or like from t i come
11:04from tv and
11:04we we work so quickly and there isn't this like now let's watch a river go by and feel what
11:11we might
11:11feel at the end of that scene um and so i think there is this space like glow saying where
11:17there's
11:17there's levity and there's the audience kind of contemplating or i i talked to one gentleman in an
11:23interview and he was just relating his own lived experience all over the film and i thought it was
11:27so beautiful because it touched him in a way to be reflexive of his own relationships and the complexity
11:32of his own relationships so yeah another i'm just loving it thanks
12:02so
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